At age 11, Madden joined PACE Youth Theatre to help overcome his shyness.	11 岁时，为帮助克服羞涩，麦登加入了 PACE 青年剧院。
He was soon cast as young Andy in the film adaptation of Iain Banks's Complicity; he was then cast in the lead role of Sebastian in the children's television series Barmy Aunt Boomerang, for which he filmed six episodes that aired from 1999 until 2000.	他很快就在根据伊恩班克斯的《同谋》改编的电影中饰演年轻的 Andy；之后在儿童电视连续剧《巴米阿姨回旋镖》中饰演主角 Sebastian，他为 1999 到 2000 年播出的该部剧集拍摄了六集。
He attended the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow, from where he graduated in 2007. While at RSAMD, he worked with The Arches and Glasgow Repertory Company, followed by Franz Xaver Kroetz's play Tom Fool at the Citizens' Theatre, which was so well received that it transferred to London, where Madden was spotted by a team from Shakespeare's Globe.	他在格拉斯哥的苏格兰皇家音乐学院 (RSAMD) 就读，并于 2007 年毕业。在入读 RSAMD 期间，他曾与 Arches and Glasgow Repertory Company 合作，随后在 Citizens 剧院演出 Franz Xaver Kroetz 的戏剧《汤姆傻瓜》，由于该剧广受好评继而又转到伦敦演出，在那里麦登被莎士比亚环球剧院的一个团队相中。
In his final year with RSAMD, he was cast as Romeo in a production of Romeo and Juliet at the modern Globe Theatre which, after an initial run in London, made a tour of open-air stages during the summer of 2007, this being the Globe's first tour.	在他入读 ARAMD 的最后一年，他在现代环球剧院的《罗密欧与朱丽叶》中饰演罗密欧，该剧在伦敦首次演出后，于 2007 年夏天进行了露天舞台巡演，这是环球剧院的首次巡演。
He played Callum McGregor in the stage production of Malorie Blackman's Noughts & Crosses in 2008.	2008 年，他在 Malorie Blackman 的《圈与叉》舞台剧中饰演 Callum McGregor。
He later gained the lead role of Dean McKenzie in the 2009 BBC comedy-drama series Hope Springs, followed by his roles as Ripley in the 2010 film Chatroom, and as Theatre of Hate singer Kirk Brandon in the 2010 film Worried About The Boy.	后来，他在 2009 年 BBC 喜剧剧集《春天的希望》中担任 Dean McKenzie 的主角，随后在 2010 年的电影《聊天弑》中饰演 Ripley，并在 2010 年的电影《乔治男孩》中饰演 Theatre of Hate 的歌手 Kirk Brandon。
From 2011 to 2013, he starred as Robb Stark in the HBO series Game of Thrones, based upon the series of novels, A Song of Ice and Fire, by George R. R. Martin.	从 2011 年到 2013 年，他在 HBO 剧集《权力的游戏》中饰演罗柏史塔克，该剧改编自乔治 R.R. 马丁的连载小说《冰与火之歌》。
Speaking in September 2018, Madden claimed that he was not paid much for his role in Game of Thrones.	在 2018 年 9 月的一次发言中，麦登声称他在《权力的游戏》中的角色并未得到多少报酬。
During this period, Madden also starred in the Channel 4 comedy-drama series Sirens,and in the BBC drama series Birdsong.	在此期间，麦登还出演了第 4 频道的喜剧剧集《急救警情》，以及 BBC 的剧集《鸟鸣》。
In May 2013, Madden was chosen to portray the prince in the live action Disney film Cinderella.	2013 年 5 月，麦登被选中在迪士尼真人电影《灰姑娘》中饰演王子。
The film was released in March 2015.	该片于 2015 年 3 月上映。
Madden first obtained his Screen Actors Guild (SAG) card for the 2014 miniseries Klondike, in which he plays Bill Haskell.	麦登在 2014 年的迷你剧《克朗哈代》中首次获得了演员工会 (SAG) 卡，在该剧中他饰演 Bill Haskell。
Between 12 May and 13 August 2016, Madden appeared on stage in London's West End playing the part of Romeo in Romeo and Juliet, where he was reunited with his Cinderella costar Lily James, who played Juliet, and director Kenneth Branagh.	2016 年 5 月 12 日至 8 月 13 日，麦登亮相伦敦西区舞台，在《罗密欧与朱丽叶》中饰演罗密欧一角，与饰演朱丽叶的灰姑娘演员莉莉詹姆斯和导演肯尼斯布拉纳重聚。
Richard was replaced as Romeo in July 2016, after suffering an ankle injury.	2016 年 7 月，理查德在脚踝受伤后被替换掉罗密欧一角。
In 2016, he played the leading role of Cosimo de' Medici, the son of the founder of the Medici Bank during the Italian Renaissance, in the Italian-British television drama series, Medici: Masters of Florence.	2016 年，他在意大利-英国电视连续剧《美第奇家族：翡冷翠名门》中饰演主角 Cosimo De' Medici，此人是意大利文艺复兴时期美第奇银行创始人之子。
In the same year he played American pickpocket Michael Mason in the 2016 action movie Bastille Day, starring alongside Idris Elba.	同年，他在 2016 年的动作片《巴黎危机》中饰演美国扒手 Michael Mason，与伊德瑞斯艾尔巴共同主演。
In 2018, Madden garnered widespread critical acclaim and wider recognition for his role as Sergeant David Budd in the BBC thriller series Bodyguard.	2018 年，麦登凭借在 BBC 惊悚剧集《保镖》中饰演 David Budd 中士一角而获得广泛好评和广泛认可。
After achieving high levels of popularity in the UK, the show was released to a worldwide audience on Netflix in October 2018.	在英国获得高人气后，该剧于 2018 年 10 月在 Netflix 向全球观众发布。
His performance earned him a Golden Globe Award for Best Actor – Television Series Drama.	他的表演为他赢得了金球奖最佳男演员 - 电视剧剧情奖。
Bodyguard went on to be nominated for the Primetime Emmy Award for Outstanding Drama Series.	《保镖》接着被提名为黄金时段艾美奖最佳戏剧类影集。
Jolie first witnessed the effects of a humanitarian crisis while filming Lara Croft: Tomb Raider (2001) in war-torn Cambodia, an experience she later credited with having brought her a greater understanding of the world.	朱莉在饱受战争蹂躏的柬埔寨拍摄《古墓丽影》（2001 年）时，第一次目睹了人道主义危机的影响，她后来认为这段经历让她对世界有了更深入的了解。
Upon her return home, Jolie contacted the United Nations High Commissioner for Refugees (UNHCR) for information on international trouble spots.	回国后，朱莉与联合国难民事务高级专员署 (UNHCR) 联系，了解国际上不安定地区的信息。
To learn more about the conditions in these areas, she began visiting refugee camps around the world.	为进一步了解这些地区的情况，她开始访问世界各地的难民营。
In February 2001, she went on her first field visit, an 18-day mission to Sierra Leone and Tanzania; she later expressed her shock at what she had witnessed.	2001 年 2 月，她进行了第一次实地考察，对塞拉利昂和坦桑尼亚进行了为期 18 天的访问，她后来表示对所目睹的情况感到震惊。
In the following months, Jolie returned to Cambodia for two weeks and met with Afghan refugees in Pakistan, where she donated $1 million in response to an international UNHCR emergency appeal, the largest donation UNHCR had ever received from a private individual.	在接下来的几个月里，朱莉返回柬埔寨两周，在巴基斯坦会见了阿富汗难民，在那里，她应联合国难民署的国际紧急呼吁，捐赠了 100 万美元，这是联合国难民署有史以来收到的一笔最大金额的私人捐款。
She covered all costs related to her missions and shared the same rudimentary working and living conditions as UNHCR field staff on all of her visits.	她承担了与她的任务有关的所有费用，在她的所有访问中，她的工作和生活条件与联合国难民署的现场工作人员一样简陋。
Jolie was named a UNHCR Goodwill Ambassador at UNHCR headquarters in Geneva on August 27, 2001.	2001 年 8 月 27 日，朱莉在联合国难民署日内瓦总部被任命为联合国难民署亲善大使。
Over the next decade, she went on more than 40 field missions, meeting with refugees and internally displaced persons in over 30 countries.	在接下来的十年里，她进行了 40 多次实地考察，与 30 多个国家的难民和国内流离失所者会面。
In 2002, when asked what she hoped to accomplish, she stated, "Awareness of the plight of these people.	2002 年，在被问及她希望实现什么目标时，她说道，“意识到这些人的困境。
I think they should be commended for what they have survived, not looked down upon." To that end, her 2001–02 field visits were chronicled in her book Notes from My Travels, which was published in October 2003 in conjunction with the release of her humanitarian drama Beyond Borders.	我认为他们能活下来值得称赞，不应该看不起他们。”为此，她在《我的旅行笔记》一书中记录了她在 2001-02 年的实地访问，该书于 2003 年 10 月与她的人道主义戏剧《超越边界》同时发布。
Jolie aimed to visit what she termed "forgotten emergencies," crises that media attention had shifted away from.	朱莉的目标是访问她口中的“被遗忘的紧急局势”，即媒体不再关注的危机。
She became noted for traveling to war zones, such as Sudan's Darfur region during the Darfur conflict, the Syrian-Iraqi border during the Second Gulf War, where she met privately with U.S. troops and other multi-national forces, and the Afghan capital Kabul during the war in Afghanistan, where three aid workers were murdered in the midst of her first visit.	她也因前往战区而受到关注，例如在达尔富尔冲突期间前往苏丹的达尔富尔地区，在第二次海湾战争期间前往叙利亚-伊拉克边境，在那里她与美军和其它多国部队进行了私下会晤，在阿富汗战争期间前往阿富汗首都喀布尔，在她第一次访问期间有三名援助人员被杀。
To aid her travels, she began taking flying lessons in 2004 with the aim of ferrying aid workers and food supplies around the world; she now holds a private pilot license with instrument rating and owns a Cirrus SR22 and Cessna 208 Caravan single-engine aircraft.	为出行之便，她于 2004 年开始参加飞行课程，目的是在世界各地运送援助人员和食品物资；她现在拥有仪表级别的私人飞行执照，并拥有一架 Cirrus SR22 和 Cessna 208 Caravan 单引擎飞机。
On April 17, 2012, after more than a decade of service as a UNHCR Goodwill Ambassador, Jolie was promoted to the rank of Special Envoy to High Commissioner António Guterres, the first to take on such a position within the organization.	2012 年 4 月 17 日，在担任联合国难民署亲善大使十多年后，朱莉被提名为高级专员安东尼奥古特雷斯的特使，成为该组织内第一个担任此类职务的人。
In her expanded role, she was given authority to represent Guterres and UNHCR at the diplomatic level, with a focus on major refugee crises.	在她的角色扩大之后，她被授权在外交层面代表古特雷斯和联合国难民署，重点关注重大难民危机。
In the months following her promotion, she made her first visit as Special Envoy—her third over all—to Ecuador, where she met with Colombian refugees, and she accompanied Guterres on a week-long tour of Jordan, Lebanon, Turkey, and Iraq, to assess the situation of refugees from neighboring Syria.	在晋升后的几个月里，她作为特使首次出访厄瓜多尔，这是她第三次访问厄瓜多尔，在那里她会见了哥伦比亚难民，她还陪同古特雷斯对约旦、黎巴嫩、土耳其和伊拉克进行了为期一周的访问，以评估来自邻国叙利亚的难民的状况。
Since then, Jolie has gone on over a dozen field missions around the world to meet with refugees and undertake advocacy on their behalf.	此后，朱莉在世界各地进行了十多次实地考察，与难民会面并代表他们进行宣传。
In an effort to connect her Cambodian-born adopted son with his heritage, Jolie purchased a house in his country of birth in 2003.	为了让她的柬埔寨出生的养子与他的传统建立联系，朱莉于 2003 年在他的出生国购买了一幢房子。
The traditional home sat on 39 hectares in the northwestern province Battambang, adjacent to Samlout national park in the Cardamom mountains, which had become infiltrated with poachers who threatened endangered species.	这幢传统住宅位于马德望省西北部的 39 公顷土地上，毗邻 Cardamom 山的 Samlout 国家公园，危及濒危物种的偷猎者已渗入该公园。
She purchased the park's 60,000 hectares and turned the area into a wildlife reserve named for her son, the Maddox Jolie Project.	她购买了该公园的 6 万公顷土地，并将该地区变成了一个以她的儿子命名的野生动物保护区，即马多克斯朱莉项目。
Released as a single in July 1969, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the composer's Stylophone, a pocket electronic organ.	“太空怪谈”于 1969 年 7 月作为单曲发行，它在很大程度上是由作曲家的 Stylophone，一种袖珍电子琴发出的怪诞音调增强的原声数字音乐。
The title and subject matter were inspired by Stanley Kubrick's 2001: A Space Odyssey and introduced the character of Major Tom.	标题和主题的灵感来自 Stanley Kubrick 的《2001 太空漫游》，并引入了 Major Tome 这个人物。
The song dates back as early as February 1969.	这首歌最早可以追溯到 1969 年 2 月。
It was written for a promotional video named "Love You till Tuesday".	它是为一段叫做“爱你到星期二”的宣传片写的。
The video's intent was to sell Bowie to a new label as he had been dropped from Deram Records in April 1968.	这段视频的目的是将鲍伊卖给一家新的唱片公司，因为他在 1968 年 4 月退出了 Deram Records。
He was urged by his manager Kenneth Pitt to record some new material and so "Space Oddity" was born.	他的经纪人 Kenneth Pitt 力劝他录制一些新素材，于是“太空怪谈”就诞生了。
Some commentators have also seen the song as a metaphor for heroin use, citing the opening countdown as analogous to the drug's passage down the needle prior to the euphoric 'hit', and noting Bowie's admission of a "silly flirtation with smack" in 1968.	一些批评家认为这首歌是对使用海洛因的隐喻，认为开头的倒计时类似于毒品在兴奋的“撞击”之前顺着针头穿行而下的过程，并指出鲍伊在 1968 年承认“一时兴起愚蠢吸食海洛因”。
His 1980 hit "Ashes to Ashes" declared "We know Major Tom's a junkie".	他在 1980 年的主打歌“灰烬归灰烬”中宣称“我们知道 Major Tom 是个瘾君子”。
"Unwashed and Somewhat Slightly Dazed" reflected a strong Bob Dylan influence, with its harmonica, edgy guitar sound and snarling vocal.	“脏兮兮的还有点头晕”体现出鲍勃迪伦的强大影响，其中含有口琴、前卫的吉他声和咆哮的嗓音。
"Letter to Hermione" was a farewell ballad to Bowie's former girlfriend, Hermione Farthingale, who was also the subject of "An Occasional Dream", a gentle folk tune reminiscent of the singer's 1967 debut album.	“给赫敏的信”是一首向鲍伊的前女友 Hermione Farthinggale 告别的民谣，她也是“偶尔的梦”的主题，这是一首温和的民谣，让人想起这位歌手 1967 年的首张专辑。
"God Knows I'm Good", Bowie's observational tale of a shoplifter's plight, also recalled his earlier style.	在“上帝知道我的好”中，鲍伊吟唱了他目睹的一个商店行窃者处境的故事，也让人想起他早期的风格。
"Cygnet Committee" has been called Bowie's "first true masterpiece".	“小天鹅委员会”被称为鲍伊“第一首真正的杰作”。
Commonly regarded as the album track most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him".	他的主角是一个救世主式的人物，“他为他的年轻追随者打破了障碍，但却发现他只是为他们提供了拒绝和摧毁他的手段”，通常被认为是最能表明作曲家未来方向的专辑曲目。
Bowie himself described it at the time as a put down of hippies who seemed ready to follow any charismatic leader.	鲍伊本人当时将它描述为对似乎随时追随任何魅力领袖的嬉皮士的贬低。
Another track cited as foreshadowing themes to which Bowie would return in the 1970s, in this case the fracturing of personality, was "Janine", which featured the words "But if you took an axe to me, you'd kill another man not me at all".	另一首被认为预示着鲍伊在 20 世纪 70 年代回归的主题曲是“珍妮”，体现出人格分裂，其中含有歌词“但如果你拿斧头砍我，你会杀死另一个人而不是我”。
The Buddhism-influenced "Wild Eyed Boy from Freecloud" was presented in a heavily expanded form compared to the original guitar-and-cello version on the B-side of the "Space Oddity" single; the album cut featured a 50-piece orchestra.	与“太空怪谈”单曲B面的原始吉他和大提琴版本相比，“来自 Freecloud 的野眼男孩”以极度膨胀的形式呈现；专辑剪辑呈现出一支50人的管弦乐队。
"Memory of a Free Festival" was Bowie's reminiscence of an arts festival he had organised in August 1969.	“自由节日的记忆”是鲍伊对他在1969 年 8 月组织的艺术节的追忆。
Its drawn-out fade/chorus ("The Sun Machine is coming down / And we're gonna have a party") was compared to The Beatles' "Hey Jude"; the song has also been interpreted as a derisive comment on the counterculture it was ostensibly celebrating.	它拖长的淡化/副歌（“太阳就要落下 / 派对即将开始”）被比作披头士的“嘿，朱迪”；这首歌也被解读为对它表面上所庆祝的反主流文化的嘲讽。
The background vocals for the crowd finale featured Bob Harris, his wife Sue, Tony Woollcott and Marc Bolan among other people.	尾声为 Bob Harris、他的妻子 Sue、Tony Woollcott 和 Marc Bolan 等人在人群中的背景式演唱。
In 1970 Bowie cut the tune in half for the A- and B-sides of a more rock-oriented version featuring the band that would accompany him on The Man Who Sold the World later that year: Mick Ronson, Tony Visconti and Mick Woodmansey – an embryonic form of Ziggy Stardust's Spiders From Mars.	1970 年，鲍伊将这首曲子一分为二，作为更注重摇滚的版本的 A 面和 B 面，这支乐队将在同年晚些时候为他的“出卖世界的人”伴奏：Mick Ronson、Tony Visconti 和 Mick Woodmansey - 来自火星的 Ziggy Stardust 的雏形。
NY 215 began at a three-way intersection with NY 360 east of the hamlet of Morton in the town of Hamlin.	NY 215 始于 Hamlin 镇 Morton 村以东与 NY 360 的一个三岔路口。
NY 360 turned off Redman Road here to follow Morton Road west to the hamlet of Morton while NY 215 headed north on Redman Road.	NY 360 在这里转出 Redman 路，沿着 Morton 路到达 Morton 村，而NY 215 则沿着 Redman 路向北。
It passed by open, cultivated fields and small pockets of residences as it proceeded through rural northwestern Monroe County.	在穿过 Monroe 县西北部农村时，会经过开阔的耕地和小片的住宅。
After 1.5 miles (2.4 km), NY 215 intersected Moscow Road, a local highway connecting NY 215 to the then-western end of the Lake Ontario State Parkway.	1.5 英里（2.4 公里）后，NY 215 与莫斯科路交汇，这是一条连接 NY 215 和当时安大略湖州立公园路西端的地方公路。
North of Moscow Road, the fields on the highway's east side slowly gave way to forested areas as the route approached Hamlin Beach State Park and intersected Cook Road.	在莫斯科路以北，随着路线接近 Hamlin Beach 州立公园并与 Cook 路交汇，公路东侧的田地逐渐让位给森林地带。
The route terminated 500 feet (150 m) north of Cook Road at the southern boundary of Hamlin Beach State Park.	这条路线在 Hamlin Beach 州立公园南部边界的 Cook 路以北 500 英尺（150 米）处终止。
The physical roadway continued into the park and to nearby Lake Ontario as a local highway.	实体道路继续进入公园，并作为地方公路通往附近的安大略湖。
The portion of Redman Road north of modern NY 360 in Hamlin was a state highway as early as 1920; however, it was not assigned a designation until the early 1940s, when it became NY 215.	Hamlin 现代化的 NY 360 以北的 Redman 路部分早在 1920 年就是一条州立公路；然而，直到 20 世纪 40 年代初，它才被指定为 NY 215。
At the time, it was the primary highway to and from Hamlin Beach State Park on the Lake Ontario shoreline, as no continuous east–west lakeside roadway existed at the time.	当时，它是往返于安大略湖岸边的 Hamlin Beach 州立公园的主要公路，因为当时没有连续的东西向湖滨公路。
This changed in the late 1940s and early 1950s following the construction of the Lake Ontario State Parkway, a lakeshore highway connecting the park to NY 261 in Greece.	在 20 世纪 40 年代末和 50 年代初，这种情况随着安大略湖州立公园路的建设而改变，这条湖滨公路连接公园和希腊的 NY 261。
The parkway began east of NY 215 at Moscow Road and provided a direct connection to Hamlin Beach State Park from Greece, and eventually Rochester.	这条公园路在莫斯科路的 NY 215 路以东开始，从希腊直接连接到 Harmlin Beach 州立公园，并最终连接到罗切斯特。
As a result, NY 215 became merely an alternate route to the park.	因此，NY 215 仅仅成为通往该公园的一条备用路线。
In the early 1970s, the Lake Ontario State Parkway was extended westward across Monroe and Orleans counties to Lakeside Beach State Park in Carlton.	在 20 世纪 70 年代初，安大略湖州立公园路向西延伸，穿过 Monroe 和 Orleans 县，到达 Carlton 的 Lakeside Beach 州立公园。
NY 215's connection to Hamlin Beach State Park was severed as part of the construction.	在建设中，NY 215 与 Harmlin Beach 州立公园的连接被切断。
As a result, the remaining portion of NY 215 from NY 360 to Cook Road lost its signed route status and was redesignated NY 941P, an unsigned reference route.	因此，NY 215 从 NY 360 到 Cook 路的剩余部分失去了标示路线地位，被重新指定为一条无标示的参考路线 NY941P。
The highway remained state maintained until 2007, when ownership and maintenance of it was transferred from the state of New York to Monroe County as part of a highway maintenance swap between the two levels of government.	直到 2007 年，这条公路一直由州政府维护，作为两级政府之间公路维护交换的一部分，该公路的所有权和维护从纽约州移交给 Monroe 县。
A bill (S4856, 2007) to enact the swap was introduced in the New York State Senate on April 23 and passed by both the Senate and the New York State Assembly on June 20.	4 月 23 日，纽约州参议院提出了一项关于交换的法案（S4856，2007），并在 6 月 20 日获得参议院和纽约州议会通过。
The act was signed into law by Governor Eliot Spitzer on August 28. Under the terms of the act, it took effect 90 days after it was signed into law; thus, the maintenance swap officially took place on November 26, 2007. The former routing of NY 941P is now part of CR 236.	该法案于 8 月 28 日由州长 Eliot Sitzer 签署成为法律。根据法案条款，它在签署成为法律 90 天后生效；因此，维护交换于 2007 年 11 月 26 日正式进行。NY 941P 以前的路线现在成为 CR 236 的一部分。
Like all species in the genus Lactarius, L. subflammeus is mycorrhizal, forming mutualistic associations with trees.	与乳菇属的所有物种一样，L.subflammeus 是菌根，与树木形成共生关系。
The fungus and the plant forms structures called ectomycorrhizae, a specialized sheath of hyphae on the surface of the root from which hyphae extend into the soil and into the outer cortical cells of the root.	真菌和植物形成叫做外生菌根的结构，这是根部表面上的一种专门的菌丝鞘，菌丝从这里延伸到土壤中，进入根部的外部皮质细胞。
The fruit bodies of L. subflammeus grow scattered to grouped under conifers or in mixed conifer-hardwood forests near pine and spruce, from August to December.	从 8 月到 12 月，L.subflammeus 的子实体分散生长在针叶树下或松树和云杉附近的针叶-硬木混交林中。
The fungus is widely distributed in the Pacific Northwest, where it is very common in conifer forests.	该真菌广泛分布在西北太平洋地区，在针叶林中很常见。
The habitat of the type location was coastal sand dunes under pine.	生境位置类型为松树下的沿海沙丘。
States from which the fungus has been collected include Washington, Idaho, Oregon, California, and Colorado.	采集到这种真菌的州包括华盛顿、爱达荷、俄勒冈、加利福利亚和科罗拉多。
The mushroom's range extends north into Canada, where it has been found near Victoria, British Columbia in coastal forests dominated by Douglas-fir (Pseudotsuga menziesii).	这种蘑菇的分布范围向北延伸到加拿大，在不列颠哥伦比亚省维多利亚附近以花旗松 (Pseudotsuga menziesii) 为主的沿海森林中发现了它的身影。
Brooks left St.	Brooks 离开了 St.
Ives and moved to Paris.	lves 并搬到巴黎。
Poor young painters such as Pablo Picasso and Henri Matisse were creating new art in the Bohemian districts of Montparnasse and Montmartre.	贫穷的年轻画家如巴勃罗毕加索和亨利马蒂斯正在蒙巴纳斯和蒙马特的波西米亚区创造新艺术。
In contrast, Brooks took an apartment in the fashionable 16th arrondissement, mingled in elite social circles, and painted portraits of wealthy and titled women.	相比之下，布鲁克斯在时尚的第 16 区租了一套公寓，混迹于精英社交圈，并为有爵位的富有女性绘制肖像。
These included her current lover, the Princess de Polignac.	这些人中包括她的现任情人 de Polignac 公主。
In 1910 Brooks had her first solo show at the prestigious Gallery Durand-Ruel, displaying thirteen paintings, almost all of women or young girls.	1910 年，布鲁克斯在著名的 Durand-Ruel 画廊举办了她的首场个人展，展出了 13 幅几乎都为妇女或年轻女孩的画作。
Some were portraits; others showed anonymous models in interior scenes or against tonal backgrounds, often with pensive or withdrawn expressions.	有些是肖像画；其他的则是在室内场景或色调背景下的无名模特，她们往往带着沉思或孤僻的表情。
The paintings were generally naturalistic, showing an attentive eye for the details of Belle Époque fashion, with parasols, veils, and elaborate bonnets on display.	这些画作通常透露出自然主义，展现出对美好年代时尚细节的关注，展示了遮阳伞、面纱和精致的帽子。
Brooks included two nude studies in this first exhibition—a provocative choice for a woman artist in 1910.	布鲁克斯的首场展览中包含两幅裸体研究，这对 1910 年的女艺术家来说是一种挑衅的选择。
In The Red Jacket, a young woman stands in front of a large folding screen, wearing only a small open jacket, with her hands behind her back.	在“红夹克”中，一名年轻女子站在一块大折叠屏风前，只穿着一件敞开的小外套，双手背在身后。
She is so frail, and her downcast face looks so forlorn that one contemporary reviewer referred to her as a consumptive; Brooks described her simply as "a poor girl who was cold".	她如此虚弱，她低垂的脸看起来如此悲凉，以至于一位当代评论家称她是痨病患者；布鲁克斯对她的描述只是“一个寒冷的可怜女孩”。
The other, White Azaleas, is a more sexually charged nude study of a woman reclining on a couch.	在另一幅“白色杜鹃花”中，则对斜倚沙发的一名女子进行了更具性感色彩的裸体研究。
Contemporary reviews compared it to Francisco de Goya's La maja desnuda and Édouard Manet's Olympia.	当代评论将其与弗朗西斯科戈雅的“裸体的马哈”和爱德华马奈的“奥林匹亚”相提并论。
Unlike the women in those paintings, the subject of White Azaleas looks away from the viewer; in the background above her is a series of Japanese prints which Brooks loved.	与这些画中的女人不同，“白色杜鹃花”的对象把目光从观众身上移开；她上方的背景是布鲁克斯喜欢的一系列日本版画。
The exhibition established Brooks' reputation as an artist.	这次展览奠定了布鲁克斯作为艺术家的声誉。
Reviews were effusive, and the poet Robert de Montesquiou wrote an appreciation calling her "the thief of souls." The restrained, almost monochromatic decor of her home also attracted attention; she was often asked to give advice on interior design, and sometimes did, though she did not relish the role of decorator.	人们对她赞不绝口，诗人罗贝尔德孟德斯鸠写了一篇评论，称她是“灵魂窃贼”。她家几乎是单色的朴素装饰也吸引了人们的注意；经常有人要她提供室内设计方面的建议，虽然有时她会这样做，但她并不喜欢装饰师的角色。
Brooks became increasingly disillusioned with Parisian high society, finding the conversation dull, and feeling that people were whispering about her.	布鲁克斯对巴黎上流社会越来越失望，发现谈吐乏味，觉得充满流言蜚语。
Despite her artistic success, she described herself as a lapidée—literally, a victim of stoning.	尽管她在艺术上取得了成功，但她仍将自己描述为 lapidée — 字面意思就是石刑的受害者。
In 1909 Brooks met Gabriele D'Annunzio, an Italian writer and politician who had come to France to escape his debts.	1909 年，布鲁克斯遇到了一位为了躲债来到法国的意大利作家和政治家加布里埃尔邓南遮。
She saw him as a martyred artist, another lapidé; he wrote poems based on her works and called her "the most profound and wise orchestrator of grays in modern painting".	她视他为一名殉道的艺术家，另一个 lapidé；他根据她的作品写诗，称她为“现代绘画中最深刻、最睿智的灰色协调者”。
Astrocytes form gap junctions and are closely associated with the vasculature and its basal lamina in the adult SVZ and subsequently in the RMS.	星形胶质细胞形成间隙连接，并与成体 SVZ 以及后续 RMS 中的血管及其基底层密切相关。
They may serve as an interface to modulate influences of endothelial and circulation-derived factors as well as the availability of cytokines and growth factors in this system.	它们可能作为一个接口来调节内皮和循环源性因素的影响以及该系统中细胞因子和生长因子的可用性。
In addition, astrocytes derived from the neurogenic hippocampus and SVZ, but not from the non-neurogenic spinal cord, promote proliferation and neuronal fate commitment of multipotent adult neural stem cells in culture, suggesting a role in the RMS.	此外，来自神经源性海马和 SVZ 的星形胶质细胞，而不是来自非神经源性脊髓的星形胶质细胞，在培养中能促进多能成体神经干细胞的增殖和神经元命运决定，表明了它在 RMS 中的作用。
Astrocytes express a number of secreted and membrane-attached factors both in vitro and in vivo that are known to regulate proliferation and fate specification of adult neural precursors as well as neuronal migration, maturation, and synapse formation.	星形胶质细胞在体外和体内都表达一些分泌和膜附着的因子，这些因子已知可调节成体神经前体的增殖和命运规范，以及神经元迁移、成熟和突触的形成。
In the adult SVZ, astrocytes express Robo receptors and regulate the rapid migration of SLIT1-expressing neuroblasts through the RMS.	在成体 SVZ 中，星形胶质细胞表达 Robo 受体并调节表达 SLIT1 的神经母细胞通过 RMS 的快速迁移。
Additionally, it has been proposed that the neuroblasts themselves play a role in modulating the astrocytes through Slit-Robo interactions.	此外，有人提出，神经母细胞本身通过 Slit-Robo 相互作用在调节星形胶质细胞方面起作用。
In the absence of Slit, astrocytic processes do not align correctly, or create the "tubes", instead running across the migrating neurons.	在没有 Slit 的情况下，星形胶质细胞过程不能正确对齐，也不能形成“管道”，而是穿过迁移的神经元。
Adult SVZ astrocytes also appear to release glutamate to regulate the survival of neuroblasts.	成体 SVZ 星形胶质细胞似乎也释放谷氨酸来调节神经母细胞的生存。
Unique to the adult SVZ, ependymal cells lining the ventricular wall are in close association with neural precursors and their progeny, acting like a shield to protect the "neurogenic niche", a zone in which stem cells are retained after embryonic development for the production of new cells of the nervous system.	成体 SVZ 的独特之处在于，心室壁内的室管膜细胞与神经前体及其后代密切相关，就像是一个保护“神经原性生态位”的盾牌，该区域的干细胞在胚胎发育后被保留下来，用于制造神经系统的新细胞。
Ependymal cells actively regulate neuronal fate specification of adult neural precursors through release of Noggin.	室管膜细胞通过释放 Noggin 积极调节成体神经前体的神经元命运规范。
Beating of the cilia of ependymal cells appears to set up concentration gradients of guidance molecules, such as cytokines TNF-α (tumor necrosis factor) and IGF-1 (insulin-like growth factor), to direct migration of neuroblasts, such as in the RMS.	室管膜细胞的纤毛跳动似乎建立了引导分子的浓度梯度，如神经因子TNF-α（肿瘤坏死因子）和 IGF-1（胰岛素样生长因子），以指导 RMS 等中的神经母细胞迁移 。
Microglia also actively regulate adult neurogenesis.	小胶质细胞也积极调节成体神经发生。
Under basal conditions, apoptotic corpses of newly generated neurons are rapidly phagocytosed from the niche by unactivated microglia in the adult SGZ.	在基础条件下，成体 SGZ 中未激活的小胶质细胞会迅速吞噬新生神经元的凋亡尸体。
Under inflammatory conditions, reactivated microglia can have both beneficial and detrimental effects on different aspects of adult neurogenesis, depending on the balance between secreted molecules with pro- and anti-inflammatory action.	在炎症条件下，重新激活的小胶质细胞可以对成体神经发生的不同方面产生有益和有害的影响，具体取决于具有促炎和抗炎作用的分泌分子的平衡。
In one study, the activation of microglia and recruitment of T cells were suggested to be required for enriched environment-induced SGZ neurogenesis, suggesting a possible role in the RMS.	在一项研究中，小胶质细胞激活和 T 细胞募集表明对丰富的环境诱导的 SGZ 神经发生必不可少，这说明在 RMS 中可能有作用。
Cells in the RMS are believed to move by "chain migration".	RMS 中的细胞被认为是通过“链式迁移”移动的。
These neuroblasts are connected by membrane specializations including gap junctions and adherens junctions, moving along each other towards the olfactory bulb through glial tubes.	这些神经母细胞通过膜特化连接，包括间隙连接和粘附连接，通过胶质管彼此朝嗅球移动。
The pathway and mechanisms behind this movement are a ventriculo-olfactory neurogenic system (VONS), a glial framework, and a chemotaxic cell signalling system.	这种运动背后的途径和机制是脑室-嗅觉神经源系统 (VONS)、胶质框架和趋化细胞信号传导系统。
The olfactory system is made up in part of the RMS which stretches from the subventricular zone in the wall of the lateral ventricle, through the basal forebrain, to the olfactory bulb (OB).	嗅觉系统部分由 RMS 组成，RMS 从侧脑室壁的脑室下区延伸到基底前脑，再到嗅球 (OB)。
VONS is the name given to this pathway, and it consists of the subventricular zone, the RMS, the olfactory tract and the olfactory bulb.	VONS 是这个通路的名称，它由脑室下区、RMS、嗅道和嗅球组成。
On January 21, 2007, the Regional Specialized Meteorological Centre in Nadi, Fiji identified a tropical depression, which was given the number 08F, about 435 km (270 mi) west-northwest of Savai'i island in Samoa.	2007 年 1 月 21 日，斐济纳迪的区域专业气象中心在萨摩亚萨瓦伊岛西北偏西约 435 公里（270 英里）处发现一个热带低气压，其编号为08F。
The depression slowly traveled towards the east-southeast for several days as the overall structure of the storm fluctuated due to diurnal variations and strong wind shear.	该气压在几天内缓慢地向东-东南方向移动，因为风暴的整体结构因昼夜变化和强风切变而波动。
Around 1700 UTC on January 22, the Joint Typhoon Warning Center (JTWC) issued a Tropical Cyclone Formation Alert for the depression.	1 月 22 日 UTC 时间 17 时左右，联合台风警报中心 (JTWC) 对该低气压发布了热带气旋形成警报。
The system developed a large banding feature in the northern portion of the circulation and deep convection formed around the center of circulation.	该系统在环流北部形成一处大型带状特征，环流中心周围形成深层对流。
The depression had moved into an area of weak to moderate wind shear with favorable diffulence aloft.	该低气压已进入一个弱到中等风切变区域，高处扩散良好。
Later that day, gale warnings were issued for the northeastern quadrant of the system.	当天晚些时候，该系统的东北部地区发布大风警报。
Tropical Depression 08F continued to develop as an anticyclone developed above the system, enhancing the environment around it.	热带低气压 08F 继续发展，因为该系统上方一个反气旋加强了它周围的环境。
A mid-latitude trough located north of the depression was steering it towards the east.	位于低气压北部的一个中纬槽将其引向东部。
Early on January 24, the system became better organized and strengthened into a cyclone at 0600 UTC.	1 月 24 日早些时候，该系统变得更有组织性，并在 UTC 时间 6 时加强成气旋。 
The storm, which was named Arthur by the RSMC Nadi, began to undergo rapid intensification as the structure improved significantly.	这个被 RSMC Nadi 命名为亚瑟的风暴，随着结构明显改善而开始迅速增强。
Deep convection developed around the center with strong outflow towards the north.	中心周围形成了深层对流，向北流出强烈。
Several hours after becoming a cyclone, the JTWC issued their first advisory on Tropical Cyclone 09P as it traveled quickly towards the east-southeast.	在成为气旋后的几个小时，由于热带气旋 09P 迅速向东南方移动，JTWC 对它发布了第一个警告。
The quick movement was due to the influences of subtropical ridge to the north and a trough to the south.	这种快速移动是由于北部的副热带脊和南部的低谷影响。
Later that day, a banding eye feature began to develop as the storm intensified into a Category 2 cyclone on the Australian intensity scale.	当天晚些时候，随着风暴加强为澳大利亚强度等级为 2 类的气旋，开始形成带状眼特征。
At 1800 UTC, the JTWC assessed Arthur to have reached its peak intensity with winds of 120 km/h (75 mph 1-minute winds), the equivalent of a minimal Category 1 hurricane on the Saffir-Simpson Hurricane Scale.	在 UTC 时间 18 时，JTWC 评估亚瑟达到了它的峰值强度，风速为 120 公里/小时（1 分钟 75 英里的风速），相当于 Saffir-Simpson 飓风等级中的最小 1 类飓风。
Early on January 25, Arthur reached its peak intensity with winds of 110 km/h (70 mph 10-minute winds) with a minimum pressure of 975 hPa (mbar) while located about 635 km (350 mi) north-northwest of Rarotonga.	1 月 25 日早些时候，在 Rarotonga 西北方向约 635 公里（350 英里）处，亚瑟达到峰值强度，风速为 110 公里/小时（10 分钟 70 英里的风速），最低气压为 975 hPa (mbar)。
Shortly after peaking in intensity, Arthur began to undergo an extratropical transition and rapidly deteriorated due to strong wind shear.	在强度达到顶峰后不久，亚瑟开始经历外热带的转变，并由于强风切变而迅速恶化。
The storm also began to merge with a low-level frontal boundary associated with the remnants of Tropical Cyclone Zita.	风暴也开始与与热带气旋 Zita 残余势力有关的低层锋面边界合并。
The strong shear left the center of circulation partially exposed, with deep convection persisting in only the southeastern quadrant.	强烈的切变使得环流中心部分暴露，只有东南方向的深层对流持续存在。
In addition to the shear, dry air began to enter the system, causing it to weaken further.	除了切变之外，干燥空气开始进入系统，导致它进一步减弱。
The olm is a symbol of Slovenian natural heritage.	人鱼是斯洛文尼亚自然遗产的一种象征。
The enthusiasm of scientists and the broader public about this inhabitant of Slovenian caves is still strong 300 years after its discovery.	在它被发现的 300 年后，科学家和广大公众对斯洛文尼亚洞穴这一栖息动物的热情仍然很强烈。
Postojna Cave is one of the birthplaces of speleobiology due to the olm and other rare cave inhabitants, such as the blind cave beetle.	由于人鱼和盲螈等其他罕见的洞穴栖息动物，波斯托伊纳洞穴成为洞穴生物学的诞生地之一。
The image of the olm contributes significantly to the fame of Postojna Cave, which Slovenia successfully utilizes for the promotion of ecotourism in Postojna and other parts of Slovenian karst.	人鱼形象极大促进了波斯托伊纳洞穴的名气，斯洛文尼亚成功地利用它来促进波斯托伊纳和斯洛文尼亚其他喀斯特地区的生态旅游。
Tours of Postojna Cave also include a tour around the speleobiological station – the Proteus vivarium, showing different aspects of the cave environment.	波斯托伊纳洞穴旅游还包括参观洞穴生物学站 - Proteus 动物园，展示洞穴环境的不同方面。
The olm was also depicted on one of the Slovenian tolar coins, and was the namesake of Proteus, the oldest Slovenian popular science magazine, first published in 1933.	人鱼也被描绘在斯洛文尼亚的一枚托拉尔硬币上，并且与斯洛文尼亚最古老的科普杂志，于 1933 年首次出版的《Proteus》同名。
Heavy rains from the storm affected the Philippines, causing flooding that forced 3,500 people to evacuate their houses.	风暴带来的大雨影响了菲律宾，引发洪水，迫使 3,500 人撤离家园。
This occurred after a month of heavy rainfall from several tropical cyclones in July.	这发生在七月份几个热带气旋带来一个月的强降雨之后。
Officials closed schools and advised small boats to remain at port.	官员们关闭了学校，并建议将小型船只停泊在港口。
A vessel capsized offshore Antique Province, and its crew of 15 was rescued.	一艘船在安蒂克省近海倾覆，船上 15 名船员获救。
At least six people died due to electrocution, after downed power lines touched floodwaters.	倾倒的电线接触洪水，至少有六人因触电而死亡。
The storm spawned a tornado and caused landslides in Negros Oriental.	这场风暴在东内格罗省引发了一场龙卷风，并造成山体滑坡。
The storm killed 35 people in the country and injured 22 others.	这场风暴造成全国 35 人死亡，22 人受伤。
Damage was estimated at $3.3 million (₱172 million 2002 PHP).	损失估计为 330 万美元（2002 年 1.72 亿菲律宾比索）。
Milenyo was the final storm to be named by PAGASA during 2002.	Milenyo 是 PAGASA 命名的 2002 年最后一场风暴。
On August 17, the Hong Kong Observatory (HKO) issued standby signal number 1 due to the storm's reformation in the South China Sea.	8 月 17 日，由于该风暴在中国南海进行了重整，香港天文台 (HKO) 发出了 1 号待命信号。
Vongfong made landfall west of the territory, although its outer rainbands spread across the region.	Vongfong 在该地区西部登陆，不过它的外围雨带遍布整个地区。
Slick roads contributed to a traffic accident in Sai Kung in which one person was killed.	道路湿滑导致西贡发生一起交通事故，其中一人死亡。
Rainfall in Hong Kong reached 133 mm (5.2 in) in the town of Kwai Chung.	香港葵涌的降雨量达到 133 毫米（5.2 英寸）。
The rainbands also produced gusty winds; sustained winds peaked at 75 km/h (47 mph), with gusts to 110 km/h (68 mph) at the mountain peak of Tai Mo Shan.	雨带也产生了狂风；持续风速最高达到 75 公里/小时（47 英里/小时），大帽山山顶的阵风达到 110 公里/小时（68 英里/小时）。
While moving ashore, Vongfong produced a storm surge of 0.48 m (1.6 ft) in Shek Pik.	上岸后，Vongfong 在石壁产生了 0.48 米（1.6 英尺）的风暴潮。
The storm downed a few trees across the territory, and a fallen branch injured one man.	风暴吹倒了该地区的几棵树，一根倒下来的树枝伤到了一名男子。
Another person was injured by a damaged awning.	另一人被损坏的遮阳棚砸伤。
In Hainan, the threat from Vongfong prompted officials to close the primary airport and to restrict sea traffic with Guangdong.	在海南，来自 Vongfong 的威胁促使官员关闭主要机场，并限制与广东的海上交通。
As a result, 113 flights were delayed, stranding more than 3,000 people.	结果，113 个航班延误，3,000 多人被困。
On the island, rainfall reached as high as 240 mm (9.4 in) in Haikou over a three-day period.	在岛上，海口三天内的教育量高达 240 毫米（9.4 英寸）。
On 3 February, the head of the State Emergency Service (SES) and then-Premier Joh Bjelke-Petersen toured northern Queensland to inspect damage.	2 月 3 日，州紧急服务处 (SES) 处长和时任总理 Joh Bjelke-Petersen 巡视昆士兰北部检查受损情况。
The government of Australia vowed to assist by providing financial and emergency services, also offering to provide aid to banana and sugar cane farmers who suffered losses as a result of Winifred.	澳大利亚政府立誓要通过提供财政和紧急服务来予以协助，还提出要向因 Winifred 而遭受损失的香蕉和甘蔗种植者提供援助。
Two government helicopters were sent shortly thereafter, assessing the severity of damage, evacuating residents, and delivering food.	此后不久派出了两架政府直升机，评估损失严重程度，疏散居民，并运送食物。
Bjelke-Petersen later expressed anger at the federal government for having increased the threshold for disaster relief before raising loans, and also stated that the Federal Minister for Primary Industry, John Kerin, had no right to accompany him on his visit to northern Queensland, only offering to discuss an offer provided that the federal government was willing to provide financial assistance.	Bjelke-Petersen 后来对联邦政府在筹款前提高救灾门槛表示愤怒，还表示联邦初级产业部长 John Kerin 无权陪同他访问昆士兰北部，只提出讨论提议，前提是联邦政府愿意提供财政援助。
Approximately 500 volunteers for the SES were deployed the same day, reinstating electrical and other essential services, evacuating regional citizens, delivering bread to numerous towns, and sending 700 tarpaulins to shield roofless houses.	同一天出动了大约 500 名 SES 志愿者，恢复了电力和其他基本服务，疏散了当地民众，向许多城镇运送面包，并送去了 700 张防水油布用以遮挡没有屋顶的房屋。
Rescue and relief work was hindered by high traffic on telephone networks, forcing Telecom to cease calls between Townsville and Ingham.	电话网络的流量高企阻碍了抢险救灾工作，迫使电信公司停止了汤斯维尔和英厄姆之间的通信。
Emergency crews of the government's Department of Social Security (DSS) visited locations throughout the region, receiving damage claims, requests for monetary aid, and filings for unemployment benefits.	政府社会保障部 (DSS) 的应急人员访问了整个地区的各个地点，接受损失索赔、经济援助请求和失业福利申请。
The Commonwealth pledged to provide $150 million in relief over a three-year period to the government of Queensland in exchange for deregulation; however, its offer was initially rejected.	联邦承诺在三年内向昆士兰政府提供 1.5 亿美元救济，以换取解除管制；不过，其提议最初遭到拒绝。
Planes flew claims adjusters and other officials to Innisfail, establishing an insurance emergency service in the city hall, while the Insurance Council of Queensland deployed its special emergency service employees for the first time.	理赔人员和其他官员飞往 Innisfail，在市政厅建立了保险应急服务，同时昆士兰保险委员会首次部署了特别应急服务员工。
As a result of severe damage, a disaster declaration for northern regions was issued by Queensland Government on 4 February.	由于损坏严重，昆士兰政府于 2 月 4 日发布了北部地区灾难声明。
The first $10 million in aid from the state government, paid by the federal government, was supplied the same day.	由联邦政府支付的州政府第一笔 1000 万美元的援助款，也在同一天提供。
Meanwhile, the SES continued its cleanup efforts, removing debris and repairing structures.	同时，SES 继续进行清理工作，清除残骸并修复结构。
Looters took advantage of confusion in the days following the cyclone, striking residences throughout Innisfail.	在气旋过后的几天里，掠夺者利用混乱局面袭击了整个 Innisfail 的住宅。
By the end of the day, 2200 tarpaulins had been distributed; however, the previously-smooth relief efforts were impeded by thunderstorms in Cairns.	到当天结束时，分发了 2200 张防水油布；然而，先前顺利的救援工作因 Cairns 的雷暴而受阻。
The Bureau of Meteorology (BoM) was subject to scrutiny in the aftermath of Winifred, and was criticized for its lack of advance warning.	在发生 Winifred 之后气象局 (BoM) 受到审查，并因其缺乏预警而受到批评。
Advices and warnings were received by regional television and radio stations up to 15 minutes late following issuance.	直到发布后 15 分钟，地区电视台和广播电台才收到通知和警告。
Winifred's sudden and unexpected turn was little-anticipated by BoM meteorologists, with employees unable to verify the cyclone's centre from the Cairns radar until only about 9:30 a.m. on 1 February, with radar error of up to 44 km (27 mi) observed.	Winifred 出现出乎意料的突然转变，让 BoM 的气象学家始料未及，直到 2 月 1 日上午 9:30，员工才从 Cairns 的雷达上确认气旋中心，并观察到雷达误差高达 44 公里（27 英里）。
However, a Flash Tropical Cyclone Advice was immediately issued shortly thereafter, reaching media outlets near noon that day.	然而，此后不久就立即发布了闪电热带气旋通知，在当天中午时分透露给媒体。
Media outlets went suggested the creation of a new Tropical Cyclone Warning Centre (TCWC) in Townsville as a result, but the suggestion was dismissed, with a centre already established in Brisbane.	媒体建议在汤斯维尔建立新的热带气旋预警中心 (TCWC)，但这个建议被驳回，因为布里斯班已建立一处中心。
A spokesman for the SES stated that no warning was given by the BoM at 9 a.m., with the storm's alarming approach; the Service had initially been anticipating the storm's recurvature out to sea, only to receive a flash warning hours later.	SES 的一位发言人表示，上午 9 时风暴令人震惊的逼近，但 BoM 没有发出任何警告；服务局最初预计风暴会再次卷入大海，几小时后才受到闪光警告。
Rowan Kaiser of The A.V. Club gave a positive review, praising the intersecting storylines and the references to the previous season.	A.V. 俱乐部的 Rowan Kaiser 给出了正面评论，赞扬了交叉的故事情节和对上一季的提及。
"More generally, [the plot lines] show that Veronica Mars has created a strong enough world that it can support much higher levels.	“更广泛地说，[这些情节线]表明 Veronica Mars 已经创造了一个足够强大到可以支持更高水平的世界。
I have been, and still somewhat am, dubious about the pace at which this season is moving.	我一直并且仍然有些怀疑本季的推进速度。
But this was a great episode, even with all its density and the fact that it was essentially all setup.	但即使它的密度很大，而且基本上都是设定好的，但这一集很不错。
And it was great because it was attached to the history of the show so far." Television Without Pity gave the episode an "A".	之所以不错，是因为它与这个节目迄今为止的历史相联系。”Television Without Pity 给这一集的评级是“A”。
Price Peterson, writing for TV.com, wrote in his episode verdict that "This episode was great, if way more grim than usual.	为 TV.com 撰稿的 Price Peterson 在他的剧集评论中写道：“尽管比平时更阴森，但这一集很不错。
Between Abel's offscreen cancer death to Amelia's icy resting place…there was a real whiff of death in this episode." Complex ranked Kim Stolz's cameo on its list of "the 25 worst cameos in TV history." BuzzFeed ranked the episode forty-fifth on its list of the best Veronica Mars episodes, criticizing the Clarence Wiedman plot while writing that "we get to see some prime banter between Logan and Cliff, two of the show’s funniest characters."	从 Abel 画外死于癌症到 Amelia 冰冷的安息之所......这一集弥漫着浓烈的死亡气息。”Complex 将 Kim Stolz 的客串列入“电视史上 25 个最糟糕的客串”榜单。BuzzFeed 将这一集列为《美眉校探》最佳剧集名单的第 45 位，批评了 Clarence Wiedman 的情节，同时写道：“我们看到 Logan 和 Cliff 之间妙趣横生，这是剧中最有趣的两个角色。”
The peoples known to us as the Angles, Saxons, Jutes and Frisians, began to arrive in Britain in the 5th century.	我们所知的盎格鲁人、撒克逊人、朱特人和弗里斯兰人，在 5 世纪开始来到不列颠。
By 600, a number of kingdoms had begun to form in southern and eastern Britain, and by the beginning of the seventh century, southern England was almost entirely under their control.	到 600 年，不列颠南部和东部开始形成一些王国，到七世纪初，英格兰南部几乎完全在他们的控制之下。
Tytila was a member of the Wuffingas family, the ruling dynasty of the Kingdom of the East Angles that was named after his father Wuffa.	Tytila 是 Wuffingas 家族的成员，该家族是以其父亲 Wuffa 的名字命名的东盎格鲁王国的统治王朝。
The Wuffingas may have been descendants of an earlier Scandinavian dynasty.	Wuffingas 可能是早期斯堪的纳维亚王朝的后裔。
Both he and his father are semi-historical figures.	他和他父亲都是半历史性的人物。
The Victorian ethnologist John Beddoe noted the similarity between the name Tytila and that of Totila, an Ostrogoth king.	维多利亚时代的民族学家 John Beddoe 注意到 Tytila 这个名字与 Ostrogoth 国王 Totila 的很相似。
Tytila is included in a number of different tallies.	Tytila 记载在许多不同的符木中。
The 9th century Welsh monk Nennius, in his Historia Brittonum, also lists Tytila, naming him as the father of Eni of East Anglia: '...Uffa, who begat Tytillus, who begat Eni,...' whilst relating the origin of the kings of East Anglia.	9 世纪的威尔士僧侣 Nennius 在他的《英国历史》中也记载了 Tytila，称他是 Eni of East Anglia 之父：‘...Uffa 生了 Tytillus，Tytillus 生了 Eni，...’，同时介绍了东盎格利亚国王的起源。
Tytila is included in an East Anglian royal tally that lists the ancestors of Ælfwald and that names many, but not all, of the early East Anglian kings.	Tytila 记载在东盎格利亚王室符木中，其中列出了 Ælfwald 的祖先，也列出了许多但不是所有早期东盎格利亚国王的名字。
The tally, which forms part of the Anglian collection, comes from the 12th century Textus Roffensis.	该符木是盎格利亚收藏的一部分，来自 12 世纪的《罗切斯特年鉴》。
In October 2016, Marvel confirmed that main cast members Clark Gregg as Phil Coulson, Ming-Na Wen as Melinda May, Chloe Bennet as Daisy Johnson / Quake, Iain De Caestecker as Leo Fitz, Elizabeth Henstridge as Jemma Simmons, Henry Simmons as Alphonso "Mack" MacKenzie, and John Hannah as Holden Radcliffe would be starring in the episode.	2016 年 10 月，漫威确认这一集中的主演克拉克格雷格饰演 Phil Coulson，温明娜饰演 Melinda May，汪可盈饰演 Daisy Johnson / Quake，伊恩德卡斯泰克饰演 Leo Fitz，伊丽莎白韩斯翠奇饰演 Jemma Simmons，亨利西蒙斯饰演 Alphonso “Mack” MacKenzie，约翰汉纳饰演 Holden Radcliffe。
Also revealed was the guest cast for the episode, including Jason O'Mara as Director Jeffrey Mace, Gabriel Luna as Robbie Reyes, Parminder Nagra as Senator Nadeer, Maximilian Osinski as Agent Davis, Patrick Cavanaugh as Burrows, Jose Zuniga as Eli Morrow, Kerr Smith as Joseph Bauer, James Edson as Warden Green, Ricardo Walker as Agent Prince, Sky Soleil as corrections officer, Rolando Molina as Santino, Brandon Keener as Harlan, Jermaine Jacox as ferocious watchdog, Lilli Birdsell as Lucy Bauer, Ward Roberts as Hugo, Usman Ally as Vincent and Devin Barry as producer.	另外还透露了这一集的客串阵容，包括 Jason O'Mara 饰演 Jeffrey Mace 局长，Gabriel Luna 饰演 Robbie Reyes，Parminder Nagra 饰演 Senator Nadeer，Maximilian Osinski 饰演 Agent Davis，Patrick Cavanaugh 饰演 Burrows，Jose Zuniga 饰演 Eli Morrow，Kerr Smith 饰演 Joseph Bauer，James Edson 饰演 Warden Green，Ricardo Walker 饰演 Agent Prince，Sky Soleil 饰演惩戒官，Rolando Molina 饰演 Santino，Brandon Keener 饰演 Harlan，Jermaine Jacox 饰演凶猛的看门狗，Lilli Birdsell 饰演 Lucy Bauer，Ward Roberts 饰演 Hugo， Usman Ally 饰演 Vincent，制片人为 Devin Barry。
O'Mara, Luna, Nagra, Osinski, Cavanaugh, Zuniga, Smith, Walker, Birdsell, Roberts, and Ally reprise their roles from earlier in the series.	O'Mara、Luna, Nagra、Osinski、Cavanaugh、Zuniga、Smith、Walker、Birdsell、Roberts 和 Ally 重新扮演他们在该系列早期的角色。
George Stephanopolous also appears in the episode, as himself.	George Stephanopolous 也以自己的身份在这一集中亮相。
The episode's prison setting was realized with a mixture of location filming at a real prison, and constructed sets.	该集的监狱环境是在真实的监狱中进行外景拍摄和搭建场景来混合实现的。
The first scene shot for the episode was the heart-to-heart between Johnson and May.	这一集拍摄的第一场戏是 Johnson 和 May 之间推心置腹的对话。
As big fans of Stephen King, the writers had the character Santino read a Spanish version of King's book Pet Sematary while in his jail cell.	作为斯蒂芬金的忠实粉丝，编剧让 Santino 这个角色在牢房里阅读金的西班牙语版《宠物坟场》。
For the prop of the Darkhold, introduced in this episode, Lilla suggested that the book's cover should feature the word "Darkhold" as an ambigram, with the series' props department designing a new font to achieve this.	对于这一集中介绍的《黑暗神书》道具，Lilla 建议书的封面上应当将“黑暗神书”一词作为对称字，为此剧组的道具部门设计了一种新字体。
The prop department had two weeks to create the book before it was needed for filming the episode, with the final book assembled by a bookbinder using aged, vellum pages that were filled with text and illustrations inspired by Leonardo DaVinci's Vitruvian Man.	在这一集开拍前，道具部门有两周时间制作这本书，最后的书由装订工用陈旧的牛皮纸页组装而成，里面的文字和插图的灵感来自达芬奇的 《维特鲁威人》。
The episode reveals that Mace became a public hero after the bombing of a United Nations meeting in Vienna, an event depicted in Captain America: Civil War.	这一集中透露，Mace 在维也纳的一次联合国会议遭到轰炸后成为公众英雄，《美国队长：内战》中描述了这一件事。
Mace was one of the many diplomats at the meeting, and was photographed saving another's life.	Mace 是众多出席会议的外交官之一，被拍到救了另一人的命。
However, the episode does indicate that Mace may not be telling the truth about this.	然而，这一集表明 Mace 在这一点上可能没有说实话。
"Lockup" was first aired in the United States on ABC on October 25, 2016.	《牢狱之灾》于 2016 年 10 月 25 日在美国 ABC 首播。
It began streaming on Netflix, along with the rest of the fourth season, on June 15, 2017.	2017 年 6 月 15 日，它连同第四季的其余部分一起开始在 Netflix 播放。
In the United States the episode received a 0.8/3 percent share among adults between the ages of 18 and 49, meaning that it was seen by 0.8 percent of all households, and 3 percent of all of those watching television at the time of the broadcast.	在美国，这一集在 18 至 49 岁的成年人中获得了 0.8/3% 的收视率，这意味着播出时有 0.8% 的家庭和 3% 的人在收看。
It was watched by 2.30 million viewers.	230 万观众观看了它。
Within a week of its release, "Lockup" had been watched by 4.55 million U.S. viewers, just above the season average of 4.22 million.	上映一周内，有 455 万美国观众观看了《牢狱之灾》，略高于本季 422 万的平均水平。
Writing for The A.V. Club, Alex McCown-Levy graded the episode a 'B+', calling it "a fast-moving and fun adventure, the kind of race-against-time scenario that remains the series’ strong suit [which] played to the show’s strengths on numerous levels".	在为 A.V. 俱乐部撰写的文章中，Alex McCown-Levy 给这一集打出了“B+”的分数，称其为“一段快节奏的有趣冒险，与时间赛跑的场景仍是该系列的强项，[它]在许多方面发挥了该剧的优势。”
He highlighted Johnson's fight against the prisoners, and Woods' direction of that scene, as well as the heart-to-heart between Johnson and May.	他强调了 Johnson 与囚犯的斗争，以及 Woods 对该场景的指导，还有 Johnson 和 May 之间的惺惺相惜。
McCown-Levy also felt "the show is having the most narratively efficient season yet, effectively balancing mission-of-the-week adventures with the longer plots", but was critical of Lucy and the low stokes of the villains.	McCown-Levy 还认为，“该剧是迄今为止叙事效率最高的一季，有效地平衡了每周冒险任务和较长的情节”，但他对 Lucy 和反派的低调持批评态度。
Most of the skeleton is preserved, the bones still attached to each other in their original anatomical position.	大部分骨架保留了下来，骨头仍然按照原来的解剖位置彼此连接。
The tail, hind feet, and hind portion of the pelvis had eroded away before the mummy was discovered.	在木乃伊被发现之前，尾巴、后脚和骨盆的后部已经腐蚀。
Fossils often become flattened during fossilization, but AMNH 5060 is preserved three-dimensionally, without significant deformation.	化石在化石化过程中往往会变平，但 AMNH 5060 进行了三维保存，没有明显变形。
The specimen was found lying on its back, with head and neck twisted upwards, backwards, and to the right side of the body.	该标本被发现时呈仰卧，头和脖子向上、向后，扭向身体右侧。
Both knees are drawn forwards, while the forelimbs are outstretched.	双膝前拉，前肢伸出。
Although the tail curves upwards and forwards over the body in many dinosaur skeletons, it was probably straight in the mummy as movement would have been restricted by ossified tendons.	在许多恐龙骨架中，虽然尾巴向上和向前弯曲，但在这具木乃伊中它可能是笔直的，因为活动会受到骨化肌腱的限制。
Almost two-thirds of the total skin area is preserved, often with excellent preservation.	几乎三分之二的皮肤总面积得以保存，通常保存完好。
The skin impressions are pressed tightly onto the bones, and are partially drawn into the body in between the bones.	皮肤印痕紧压在骨头上，部分被拉到骨头之间的身体里。
When discovered, skin impressions probably encased the whole skeleton, but were partially destroyed while freeing it from the surrounding rocks.	在被发现时，皮肤印痕可能包裹了整个骨架，但在从周围的岩石中挖出时遭到部分破坏。
Skin impressions are preserved on the forelimbs, neck and throat, and the chest, as well as on the right side of the trunk.	前肢、颈部和喉咙、胸部以及躯干右侧保留了皮肤印痕。
As well as the skin impressions, Sternberg noted the preservation of muscle impressions.	除了皮肤印痕，Sternberg 还注意到保存的肌肉印痕。
In 2007, paleontologist Kenneth Carpenter suggested that even impressions of inner organs are possibly preserved; this cannot be evaluated without detailed computer tomography and x-ray analyses.	2007 年，古生物学家 Kenneth Carpenter 提出，即便内脏器官印痕也可能保存下来；如果没有详细的计算机断层扫描和 x 射线分析，就无法对其进行评估。
The skin was thin and delicate in relation to the size of the animal.	与动物的体型相比，皮肤又薄又脆弱。
As typical for dinosaurs, the skin consisted of non-overlapping scales called tubercles.	对于恐龙，皮肤通常由称为结节的非重叠鳞片组成。
Two sorts of tubercles can be distinguished.	可以区分两种结节。
Evenly distributed on the skin were the "ground tubercles", which were small, rounded scales between 1 and 3 mm (0.039 and 0.118 in) in diameter.	均匀分布在皮肤上的是“基底结节”，它们是直径 1 到 3 毫米（0.039 到 0.118 英寸）之间的圆形小鳞片。
The larger "pavement tubercles", less than 5 mm (0.20 in) in diameter, were pentagonal in shape, raised relative to the ground tubercles, and arranged in irregular clusters interrupting the surface formed by the lower ground tubercles.	较大的“铺面结节”直径小于 5 毫米（0.20 英寸），呈五边形，相对于基底结节呈凸起状，并以不规则的簇状排列，阻断了下部基底结节形成的表面。
These clusters consisted of between twenty and several hundred individual pavement tubercles, and were bordered by intermediate tubercles which mediated in size and shape between ground and pavement tubercles.	这些簇由 20 到几百个单独的铺面结节组成，以中间结节为界，其大小和形状介于基底结节和铺面结节之间。
In the chest and abdominal region, clusters were small, oval in shape and arranged in irregular longitudinal lines.	胸部和腹部区域的簇很小，呈椭圆形并排列成不规则的纵向线。
They became larger towards the sides of the trunk, where they reached 5 to 10 cm (2.0 to 3.9 in) in diameter; their shape became more irregular.	它们在躯干两侧变大，直径达到 5 至 10 厘米（2.0 至 3.9 英寸）；形状变得更加不规则。
A cold front's location is at the leading edge of the temperature drop-off, which in an isotherm analysis shows up as the leading edge of the isotherm gradient, and it normally lies within a sharp surface trough.	冷锋位置在温度下降前缘，在等温线分析中显示为等温线梯度前缘，它通常位于尖锐的表面低压槽内。
Cold fronts can move up to twice as fast as warm fronts and produce sharper changes in weather, since cold air is denser than warm air and rapidly lifts the warm air as the cold air moves in.	冷锋的移动速度可以达到暖锋的两倍，并且会产生更剧烈的天气变化，因为冷空气的密度比暖空气大，冷空气移动时会迅速抬升暖空气。
Cold fronts are typically accompanied by a narrow band of showers and thunderstorms.	冷锋通常伴随狭窄的阵雨和雷暴带。
On a weather map, the surface position of the cold front is marked with the symbol of a blue line of triangles/spikes (pips) pointing in the direction of travel, at the leading edge of the cooler air mass.	在气象图上，冷锋的表面位置被标记为蓝色三角形/尖峰（吸气峰压）的符号，指向行进方向，位于较冷气团的前缘。
Warm fronts mark the position on the Earth's surface where a relatively warm body of air has displaced colder air.	暖锋标志着地球表面上相对温暖的气体取代较冷空气的位置。
The temperature increase is located on the equatorward edge of the gradient in isotherms, and lies within broader low pressure troughs than is the case with cold fronts.	温度上升位于等温线梯度的赤道边缘，并且位于比冷锋更宽的低压槽内。
Warm fronts move more slowly than do the cold fronts because cold air is denser, and harder to displace from the Earth's surface.	暖锋移动速度比冷锋慢，因为冷空气密度较大，更难从地球表面移开。
This causes temperature differences across warm fronts to be broader in scale.	这导致暖锋之间的温差规模更大。
The warm air mass overrides the cold air mass and temperature changes occur at higher altitudes before those at the surface.	暖气团覆盖冷气团，温度变化发生在高海拔地区，之后它们才到达表面。
Clouds ahead of the warm front are mostly stratiform and rainfall gradually increases as the front approaches.	暖锋前方的云层大多呈层状，随着暖锋临近，降雨量逐渐增加。
Fog can also occur preceding a warm front passage.	暖锋通过前也会出现大雾。
Clearing and warming is usually rapid after the passage of a warm front.	暖锋通过后，通常会迅速放晴和变暖。
If the warm air mass is unstable, mixing of the warm moist air will produce thunderstorms that are embedded among the stratiform clouds ahead of the front, and after frontal passage, thundershowers may continue.	如果暖气团不稳定，暖湿空气混合将产生雷暴，这些雷暴嵌入锋前方的层状云中，锋面通过后，雷阵雨可能会继续。
On weather maps, the surface location of a warm front is marked with a red line of half circles pointing in the direction of travel.	在气象图上，暖锋的表面位置用半圆红线标记，指向行进方向。
An occluded front is formed during the process of cyclogenesis when a cold front overtakes a warm front.	在气旋形成过程中，当冷锋超过暖锋时，就会形成锢囚锋。
The cold and warm fronts curve naturally poleward into the point of occlusion, which is also known as the triple point in meteorology.	冷锋和暖锋自然而然地极向弯曲进入锢囚点，这在气象学上也被称为三相点。
It lies within a sharp trough, but the air mass behind the boundary can be either warm or cold.	它位于尖锐的低压槽内，但边界后面的气团可以是暖气团或冷气团。
In a cold occlusion, the air mass overtaking the warm front is cooler than the cool air ahead of the warm front, and plows under both air masses.	在冷锢囚锋中，超越暖锋的气团比暖锋前面的冷空气更冷，并在这两个气团下犁过。
In a warm occlusion, the air mass overtaking the warm front is not as cool as the cold air ahead of the warm front, and rides over the colder air mass while lifting the warm air.	在暖锢囚锋中，超越暖锋的气团不像暖锋前面的冷空气那样冷，而是骑在较冷的气团上，同时抬升暖空气。
A wide variety of weather can be found along an occluded front, with thunderstorms possible, but usually their passage is associated with a drying of the air mass.	沿锢囚锋可以发现各种各样的天气，可能有雷暴，但其通过一般与气团干燥有关。
Though silvertip sharks are quite mobile, they exhibit fidelity to certain areas, with reports of territorial behavior.	虽然银鳍鲨行动灵活，但它们对某些区域表现出忠诚度，并有领土行为的报道。
They are usually encountered alone or in pairs.	它们通常单独或成对出现。
Small groups of adult females have been seen in deep water.	有人在深水域中曾看到过一小群成年雌性。
Individual silvertip sharks behave very aggressively towards one another, and many are heavily scarred.	个别银鳍鲨彼此的行为很有攻击性，许多银鳍鲨身上伤痕累累。
They are also reported to dominate Galapagos sharks (C. galapagensis) and blacktip sharks (C.	据报道，在争夺食物时，它们还会支配同等体型的加拉帕戈斯鲨 (C. galapagensis) 和黑鳍鲨 (C.
limbatus) of equal size when competing for food.	limbatus)。
This shark sometimes forms mixed-species aggregations with grey reef sharks.	这种鲨鱼有时会与灰礁鲨形成混合物种聚集体。
Rainbow runners (Elagatis bipinnulata) have been observed rubbing against silvertip sharks, using the sharks' rough skin to scrape off parasites.	已经观察到纺綞鰤 (Elagatis bipinnulata) 与银鳍鲨摩擦，利用鲨鱼粗糙的皮肤刮掉寄生虫。
They sometimes follow marine mammals such as bottlenose dolphins (Tursiops sp.) in open water, and are themselves followed by pilot fish (Naucrates ductor).	它们有时会在开阔水域跟随宽吻海豚 (Tursiops sp.) 等海洋哺乳动物，领航鱼 (Naucrates ductor) 也会跟随它们。
Like the grey reef shark, the silvertip shark sometimes perform a stereotypical threat display if pursued by divers, warning that it is prepared to attack.	像灰礁鲨一样，银鳍鲨被潜水员追赶时有时会做出典型的威胁展示，警告它准备攻击。
The display begins with the shark accelerating away to a distance of 15 m (49 ft), before turning and charging towards the perceived threat.	展示开始时，银鳍鲨加速离开 15 米（49 英尺）远，然后转向并冲向所感知到的威胁。
At a distance of two body lengths, the shark brakes, turns broadside, drops its pectoral fins, gapes its jaws, lowers the posterior two-thirds of its body, and "shivers".	在两个体长的距离处，银鳍鲨刹住，转向宽侧，放下胸鳍，张开下巴，降低身体后补的三分之二，并“颤抖”。
The last two elements of this display are unique to this species; the "shivering" may serve to emphasize its white fin markings.	这种展示的最后两个元素系该物种独有；“颤抖”可能是为了强调其白色的鳍部标记。
If the diver persists, the shark may rapidly close in and slash with its upper teeth.	如果潜水员还坚持，鲨鱼可能会迅速靠近并用它的上牙劈砍。
The diet of the silvertip shark consists primarily of bony fishes, such as grouper, mackerel, tuna, escolars, lanternfish, flyingfish, wrasses, and soles.	银鳍鲨的食物主要包括硬骨鱼，如石斑鱼、鲭鱼、金枪鱼、河豚、油鱼、灯笼鱼、飞鱼、隆头鱼和鳎鱼。
Eagle rays, smaller sharks, and octopus are occasionally taken.	鹰鳐、小鲨鱼和章鱼偶尔也会被捕获。
Larger sharks tend to be more sluggish and take more benthic prey.	体型较大的鲨鱼往往更迟钝，猎捕更多的底栖猎物。
The differently shaped dentition in their upper and lower jaws allows them to tackle large prey, gripping and sawing off chunks of flesh with violent twists and turns.	上下颚不同形状的齿状物能够让它们对付大型猎物，用猛烈的扭动来夹住和锯掉大块的肉。
Silvertip sharks have been observed swimming around the periphery of groups of feeding sharks of other species, occasionally dashing in to steal food.	人们观察到银鳍鲨在其他物种的觅食鲨鱼群周围游动，偶尔会冲进去偷食。
This species often approaches ships, as they are attracted to certain artificial, low-frequency sounds.	这个物种经常接近船只，因为它们被某些人造的低频声音所吸引。
From the 1990s onward an increasing amount of literature on Canadian comics has appeared, in both official languages.	从 20 世纪 90 年代开始，越来越多关于加拿大漫画的文献以两种官方语言出现。
Books such as Guardians of the North (1992) and Invaders from the North (2006) appeared by comics historian John Bell, who became senior archivist at Library and Archives Canada in Ottawa.	漫画历史学家约翰贝尔出版了《北方的守护者》(1992) 和《北方入侵者》(2006) 等书籍，他成为加拿大渥太华图书馆和档案馆的高级档案管理员。
American magazine Alter Ego ran a special issue on Canadian comics in 2004.	美国杂志《Alter Ego》在 2004 年出版了一期加拿大漫画特刊。
Bart Beaty and Jeet Heer have been writing about comics academically and professionally, and regularly have articles educating the public on comics published in newspapers such as the National Post and the Boston Globe, as well as comics and literary magazines.	Bart Beaty 和 Jeet Heer 一直撰写关于漫画的学术和专业文章，并经常在《国家邮报》和《波士顿环球报》等报纸以及漫画和文学杂志上发表教育公众的漫画文章。
Canadian feminist scholars such as Mary Louise Adams, Mona Gleason, and Janice Dickin McGinnis have done research into the anti-crime comics campaigns of the late 1940s and 1950s, from the point of view of the moral panic and social and legal history of the era, and the sociology of sexuality.	加拿大女权主义学者如 Mary Louise Adams、Mona Gleason 和 Janice Dickin McGinnis 从那个时代的道德恐慌和社会、法律史以及性社会学的角度，对 20 世纪 40 年代末和 50 年代的反犯罪漫画运动进行了研究。
There are ten nursery schools, sixteen primary schools, and two secondary schools in Ashton-under-Lyne as of 2019.	截至 2019 年，Ashton-under-Lyne 有 10 所幼儿园，16 所小学，2 所中学。
In 2006, the council began a scheme to develop education in the borough by opening six new secondary schools.	2006 年，委员会开始实施一项计划，通过开设 6 所新中学来发展该区的教育。
Among the changes proposed as part of the £160 million scheme was the closure of Hartshead Sports College and Stamford Community High School, to be replaced by a 1,350-pupil academy with 300 sixth-form members.	作为 1.6 亿英镑计划的一部分，提议的变更包括关闭 Hartshead 体育学院和斯坦福社区高中，取而代之的是一所有 1,350 名小学生和 300 名六年级学生的学院。
In 2007, Hartshead Sports College was placed on "special measures" after it failed to achieve its targets for General Certificate of Secondary Education results and was criticised by Ofsted for its teaching standard.	2007 年，Hartshead 体育学院因未能实现其普通中等教育证书成绩目标而受到“特殊措施”处理，并因其教学标准而受到 Ofsted 的批评。
The new academy opened in September 2008, a year ahead of schedule.	新学院于 2008 年 9 月开业，比计划提前一年。
It was named New Charter Academy (now Great Academy Ashton) after its sponsor, the New Charter Housing Trust.	它被命名为 New Charter 学院（现在的 Great Academy Ashton），以其赞助商 New Charter Housing Trust 的名字来命名。
The other secondary school in the town is St Damian's RC Science College, which was founded in 1963, and provides education for 800 pupils aged 11–16.	该镇的另一所中学是 St Damian's RC 科学学院，该学院成立于 1963 年，为 800 名 11–16 岁的学生提供教育。
As part of the Building Schools for the Future project, a replacement school building was built by Carillion and opened in May 2011.	作为“建设面向未来的学校”项目的一部分，Carillion 建造了一座替代性的教学楼，并于 2011 年 5 月开放。
Dale Grove School has 60 pupils and offers education for pupils aged 5–16 with special needs.	Dale Grove 学校有 60 名学生，为 5–16 岁有特殊需要的学生提供教育。
Ashton Sixth Form College is a centre for further education with 1,650 pupils aged 16–18.	Ashton 六年制学院是一个继续教育中心，有 1,650 名 16–18 岁的学生。
Tameside College also provides opportunities for further education and operates in Ashton-under-Lyne, Droylsden, and Hyde.	Tameside 学院也提供继续教育机会，并在 Ashton-under-Lyne、Droylsden 和 Hyde 运营。
Founded in 1954 and expanded in 1957 and 1964, it was originally called Ashton College.	它成立于 1954 年，并在 1957 年和 1964 年进行了扩建，最初称为 Ashton 学院。
In the early 19th century, Ashton-under-Lyne's growth made it necessary to find a new water supply.	在 19 世纪初，Ashton-under-Lyne 的发展使得有必要寻找新水源。
Before the introduction of piped water the town's inhabitants drew water from wells and the nearby River Tame.	在引入自来水之前，该镇的居民从水井和附近的 Tame 河取水。
Industrial processes had, however, polluted the river and the wells could not sustain a rapidly expanding population.	然而，工业过程污染了河流，水井无法维持快速增长的人口。
From 1825, a private company was responsible for piping water from reservoirs, but there were still many homes without proper drainage or water supply.	从 1825 年起，一家私人公司负责输送水库中的水，但仍有许多家庭没有适当的排水或供水。
Waste management is now co-ordinated by the local authority via the Greater Manchester Waste Disposal Authority.	废物管理现在由地方当局通过大曼切斯特废物处理局进行协调。
The first power station in Tameside was built in 1899, providing power for the area.	Tameside 的第一座发电站建于 1899 年，为该地区供电。
Ashton's Distribution Network Operator for electricity is United Utilities; there are no power stations in the town.	Ashton 配电网络运营商是 United  Utilities；该镇没有发电站。
United Utilities also manages the drinking and waste water.	United Utilities 还管理饮用水和废水。
In 1999, the Minneapolis Library Board issued a report entitled Outlook Twenty Ten identifying the changing needs of each of the system's libraries.	1999 年，明尼阿波利斯图书馆委员会发布了一份题为《展望 2010》的报告，确定了该系统各图书馆不断变化的需求。
Deeming Nokomis crowded and outdated, the report proposed three options.	该报告认为 Nokomis 很拥挤而且过时，因此提出了三种方案。
Option A proposed combining Nokomis with the nearby Roosevelt Community Library in a 25,000-square-foot (2,323 m²) space and closing both Nokomis and Roosevelt.	方案 A 建议将 Nokomis 与附近的 Roosevelt 社区图书馆合并为一个 25,000 平方英尺（2,323 平方米）的空间，并关闭 Nokomis 和 Roosevelt。
This would have allowed the library to operate out of a state-of-the-art building at an undecided location.	这样该图书馆将在一栋最先进的建筑中运作，地点未定。
Option B recommended moving Nokomis to a different site without moving Roosevelt.	方案 B 建议在不搬迁 Roosevelt 的情况下将 Nokomis 搬到另一个地方。
The new library there would have been 18,000 square feet (1,672 m²).	那里的新图书馆有 18,000 平方英尺（1,672 平方米）。
Option C included capital improvements to Nokomis, such as replacing carpeting, signs, and the roof.	方案 C 包括对 Nokomis 进行资本改进，如更换地毯、标志和屋顶。
A 2003 update to the report identified a project start date of 2007, with full closure in 2008 and a reopening in 2009.	2003 年更新的报告确定了项目开始日期为 2007 年，2008 年全面关闭，2009 年重新开放。
In 2007, the Minneapolis City Council appropriated a portion of its $1.35 billion 2008 budget for improvements to Nokomis and Northeast Community Library. $5.2 million of the $7 million project came from the city; Hennepin County put forward $1.8 million for environmental additions to the library and other features.	2007 年，明尼阿波利斯市议会从 2008 年 13.5 亿美元的预算中拨出一部分资金用于改善 Nokomis 和东北社区图书馆。在 700 万美元的项目中，有 520 万美元来自该市；Hennepin 县提出了 180 万美元用于图书馆的环境增设和其他功能。
The new building was designed by KKE Architects with significant input from a citizen advisory committee.	这栋新建筑由 KKE Architects 设计，并征求了市民咨询委员会的大量意见。
Ebert, Inc. was hired as the general contractor.	Ebert, Inc. 受雇成为总承包商。
The old building's last day of operation was September 12, 2009, at which time it was reported in the Longfellow/Nokomis Messenger that the renovated library was expected to reopen sometime in the fall of the next year.	旧楼的最后运营日期是 2009 年 9 月 12 日，当时 Longfellow/Nokomis Messenger 报道说，翻新后的图书馆预计于明年秋天的某个时候重新开放。
During the construction, patrons were encouraged to make use of nearby libraries including East Lake, Roosevelt, Washburn, and Southdale.	施工期间鼓励顾客使用附近的图书馆，包括 East Lake、Roosevelt、Washburn 和 Southdale。
The renovation included expanding the size of the library about 4,300 square feet (399 m²) to a total size of 17,340 square feet (1,611 m²).	翻修包括将图书馆面积扩大到大约 4,300 平方英尺（399 平方米），总面积为 17,340 平方英尺（1,611 平方米）。
A new lighting system that automatically adjusts based on the levels of light within the building was installed, along with a geothermal heating apparatus.	安装了一个新的照明系统，该系统可以根据建筑物内的光线水平自动调节，同时还安装了地热供暖设备。
Other environmentally friendly interior features included carpeting constructed from recycled fibers and low-flow faucets.	其他环保内饰包括由回收纤维制成的地毯和低流量的水龙头。
A stormwater management system and native planting were utilized on the building's exterior.	大楼外部使用了雨水管理系统和本地植物。
The library once again incorporated materials from Mankato Kasota Stone, making the difference between the old and new exterior surfaces virtually indistinguishable.	该图书馆再次采用了来自 Mankato Kasota Stone 的材料，几乎无法区分新旧外墙表面的区别。
The teen section was significantly expanded and a new ground-floor meeting room was built.	青少年区得到了极大扩展，并新建了一个底层会议室。
The children's section was also subject to improvements, gaining new nature-inspired design elements including bird light fixtures.	儿童区也得到改进，获得了新的自然灵感设计元素，包括鸟类灯具。
Orthogenesis, also known as orthogenetic evolution, progressive evolution, evolutionary progress, or progressionism, is the biological hypothesis that organisms have an innate tendency to evolve in a definite direction towards some goal (teleology) due to some internal mechanism or "driving force".	直生论，又称定向演化、渐进演化、进化性进步或进步主义，是一种生物学假说，即生物体由于某种内在机制或“驱动力”而具有向某个目标（目的论）的明确方向演化的先天倾向。
According to the theory, the largest-scale trends in evolution have an absolute goal such as increasing biological complexity.	根据该理论，演化中最大规模的趋势有绝对目标，如增加生物复杂性。
Prominent historical figures who have championed some form of evolutionary progress include Jean-Baptiste Lamarck, Pierre Teilhard de Chardin, and Henri Bergson.	拥护某种形式演化过程的知名历史人物包括 Jean-Baptiste Lamarck、Pierre Teilhard de Chardin 和 Henri Bergson。
The term orthogenesis was introduced by Wilhelm Haacke in 1893 and popularized by Theodor Eimer five years later.	直生论由 Wilhelm Haacke 于 1893 年提出，五年后由 Theodor Eimer 推广。
Proponents of orthogenesis had rejected the theory of natural selection as the organizing mechanism in evolution for a rectilinear model of directed evolution.	直生论的支持者拒绝将自然选择理论作为定向演化直线模式的演化组织机制。
With the emergence of the modern synthesis, in which genetics was integrated with evolution, orthogenesis and other alternatives to Darwinism were largely abandoned by biologists, but the notion that evolution represents progress is still widely shared.	随着现代综合论的出现，其中遗传学与演化相结合，直生论与其他替代达尔文主义的方法在很大程度上被生物学家放弃，但演化代表进步的概念依然得到广泛认同。
The evolutionary biologist Ernst Mayr made the term effectively taboo in the journal Nature in 1948, by stating that it implied "some supernatural force".	进化论生物学家 Ernst Mayr 于 1948 年在《自然》杂志上指出，这个词暗示“某种超自然的力量”，从而使得这个词成为禁忌。
The American paleontologist George Gaylord Simpson (1953) attacked orthogenesis, linking it with vitalism by describing it as "the mysterious inner force".	美国古生物学家 George Gaylord Simpson (1953) 抨击了直生论，将其与活力论联系起来，称其为“神秘的内在力量”。
Modern supporters include E. O.	现代支持者包括 E. O.
Wilson and Simon Conway Morris, while museum displays and textbook illustrations continue to give the impression of progress in evolution.	Wilson 和 Simon Conway Morris，而博物馆展览和教科书插图继续给人以演化进步的印象。
The philosopher of biology Michael Ruse notes that in popular culture evolution and progress are synonyms, while the unintentionally misleading image of the March of Progress, from apes to modern humans, has been widely imitated.	生物学哲学家 Michael Ruse 指出，在流行文化中，演化和进步是同义词，而从猿猴到现代人类的进步进行曲这一无意中误导的形象被广泛模仿。
The term orthogenesis (from Ancient Greek ὀρθός orthós, "straight", and γένεσις génesis, "origin") was first used by the biologist Wilhelm Haacke in 1893.	生物学家 Wilhelm Haacke 在 1893 年首次使用了直生论（来自古希腊语 Greek ὀρθός orthós “直”和 γένεσις génesis “起源”）一词。
Theodor Eimer was the first to give the word a definition; he defined orthogenesis as "the general law according to which evolutionary development takes place in a noticeable direction, above all in specialized groups".	Theodor Eimer 是第一个给该词下定义的人；他将直生学定义为“某个明显的方向出现演化发展的一般规律，首先是在特定群体中发生”。
In 1922, the zoologist Michael F. Guyer wrote:	1922 年，动物学家 Michael F. Guyer 写道：
[Orthogenesis] has meant many different things to many different people, ranging from a mystical inner perfecting principle, to merely a general trend in development due to the natural constitutional restrictions of the germinal materials, or to the physical limitations imposed by a narrow environment.	[直生论]对许多不同的人来说有许多不同的含义，从神秘的内在完善原则，到仅仅由于生发材料的自然构成限制，或由于狭隘的环境所造成的物理限制而产生的一般发展趋势。
In most modern statements of the theory, the idea of continuous and progressive change in one or more characters, due according to some to internal factors, according to others to external causes-evolution in a "straight line" seems to be the central idea.	在该理论的大多数现代陈述中，一个或多个特征连续和渐进变化的观点，一些人说是由于内部因素，另一些人则说是外部原因 - “直线”演化似乎是中心思想。
According to Susan R. Schrepfer in 1983:	根据 Susan R. Schrepfer 在 1983 的说法：
Orthogenesis meant literally "straight origins", or "straight line evolution".	直生论的字面意思是“直接起源”或“直线演化”。
The term varied in meaning from the overtly vitalistic and theological to the mechanical.	从公然的活力论和神学到机械，这个词有不同的含义。
It ranged from theories of mystical forces to mere descriptions of a general trend in development due to natural limitations of either the germinal material or the environment ...	它的范围包括神秘力量理论到仅仅描述由于生发材料或环境的自然限制而导致的发展总趋势...
Few details are known about Smart's time at St Luke's Hospital for Lunatics.	关于 Smart 在 St Luke 精神病院的时间，其细节鲜为人知。
He was admitted to St Luke's on 6 May 1757 as a "Curable Patient".	他于 1757 年 5 月 6 日作为一名“可治愈的病人”进入 St Luke。
It is possible that Smart was confined at Newbery's behest over old debts and a poor relationship that existed between the two; Newbery had previously mocked Smart's immorality in A Collection of Pretty Poems for the Amusement of Children six Foot High.	可能是由于旧债和两人之间存在的恶劣关系，Smart 在 Newbery 的授意下被关进了医院；Newbery 之前在《供六英尺高儿童娱乐的精美诗歌集》中嘲笑了 Smart 不道德的行为。
Regardless of Newbery's exact reasons, there is evidence suggesting that Newbery's admittance of Smart into the mental asylum was not based on madness.	不管 Newbery 的确切理由是什么，有证据表明 Newbery 将 Smart 送进精神病院并不是因为疯魔。
To have Smart admitted, Newbery probably provided a small bribe, although bribes were against St Luke's policy.	为了让 Smart 入院，Newbery 可能提供了一小笔贿赂，尽管贿赂有违 St Luke 政策。
There is little information about Smart's condition during his stay at St Luke's, possibly because Battie's denied his patients from being visited, including by their own family members.	关于 Smart 在 St Luke 期间的病情信息少之又少，可能是因为 Battie 拒绝外人探视他的病人，包括他们自己的家人。
One of the few records that survive of Smart's time at St Luke's was an entry in St Luke's Minute Book, which read:	关于 Smart 在 St Luke 的时间，现存的少数记录之一是 St Luke 记录簿中的一条记录，内容是：
12 May 1758	1758 年 5 月 12 日
Dr. Battie having acquainted this Committee that Christopher Smart (who was admitted on the 6th day of May 1757) continues disordered in his Senses notwithstanding he has been admitted into this Hospital above 12 Calendar Months and from the present Circumstances of his Case there is not Suffit.	Battie 医生通知本委员会，Christopher Smart（1757 年 5 月 6 日入院）尽管已经入院 12 个月以上，但他的感官仍然失常，从他目前的情况来看，没有足够的
reason to expect his speedy Recovery And he being brought up and examined.	理由期望他快速康复和接受照管与检查。
Ordered.	已下达命令。
That he be discharged and that Notice be sent to his Securities to take him away.	让他出院并向他的安保发出通知，让他们把他带走。
During Smart's confinement at St Luke's, not even other doctors were allowed to see Smart unless they had received personal permission from Battie.	在 Smart 被关在 St Luke 期间，甚至其他医生也不被允许见 Smart，除非他们得到 Battie 的亲自许可。
It was improbable that Smart could have left the asylum without being released by Battie.	在没有得到 Battie 释放的情况下，Smart 是不可能离开这家精神病院的。
Even if Smart would have attempted to obtain release via legal means, the rules for subpoenaing release would have been almost impossible to follow based on the system that Battie had in place, which isolated the individual from all contact.	即便 Smart 试图通过法律手段获释，根据 Battie 制定的隔绝个人一切联系的制度，传唤释放的规则也几乎不可能被遵守。
Eventually, Smart was deemed "incurable" and would not have been released by the hospital but for its lack of funds.	最终，Smart 被认为“无法治愈”，如果不是因为缺乏资金，医院不会将其释放。
There is little information about how and why Smart was released from asylum, but his daughter claimed: "He grew better, and some misjudging friends who misconstrued Mr Newbery's great kindness in placing him under necessary & salutary restriction which might possibly have eventually wrought a cure, invited him to dinner and he returned to his confinement no more." What is known about the actual events is that John Sherratt, Christopher Smart's friend, believed that Smart's confinement was unfair and wanted to negotiate Smart's release.	关于 Smart 如何以及为何从精神病院放出来的信息少之又少，但他的女儿声称：”他逐渐好转，一些判断错误的朋友误解了 Newbery 对他进行必要且有益的限制的好意，邀请他共进晚餐，他也不再回到禁闭室。”对于实际事件，已知的信息是 Christopher Smart 的朋友 John Sherratt 认为对 Smart 的监禁不公，并希望就释放 Smart 进行协商。
In January 1763, he met with a parliamentary committee to discuss the issue of individuals falsely imprisoned and abuses that they would receive in asylums.	1763 年 1 月，他会见了议会委员会, 讨论个人被错误监禁以及他们在精神病院会遭受虐待的问题。
In particular, Sherratt argued that many were admitted for habitual intoxication, which undermined Battie's and other asylum keeper's reputations.	特别是，Sherratt 认为许多人是因习惯性醉酒而被入院，这破坏了 Battie 和精神病院其他守卫的声誉。
A finding by the parliamentary committee released 27 January 1763 bolstered Sherratt's chances to release Smart.	1763 年 1 月 27 日公布的议会委员会的调查结果支持了 Sherratt 释放 Smart 的可能性。
Carl Michael Bellman is the central figure in Swedish song, known for his 1790 Fredman's Epistles and his 1791 Fredman's Songs.	Carl Michael Bellman 是瑞典歌界的核心人物，以 1790 年的《弗里曼书信》和 1791 年的《弗里曼之歌》而闻名。
He played the cittern, accompanying himself as he performed his songs at the royal court.	他在皇家宫廷演奏他的歌曲时，会弹奏西特琴，为自己伴奏。
Jean Fredman is a fictional character and the supposed narrator in Bellman's epistles and songs, based on a real watchmaker of Bellman's Stockholm.	Jean Fredman 是一个虚构人物，也是 Bellman 的书信和歌曲中的所谓叙述者，其原型就是 Bellman 在斯德哥尔摩的一个真实的钟表匠。
The epistles paint a picture of the demimonde life of the city during the eighteenth century, where strong drink and beautiful "nymphs" like Ulla Winblad create a rococo picture of life, blending classical allusion and pastoral description with harsh reality.	书信描绘了十八世纪城市的暗娼阶层生活，那里的烈酒和像 Ulla Winblad 这样美丽的“仙女”营造了一幅洛可可式的生活画面，将古典典故和田园描述与残酷的现实融为一体。
Epistle 82 has been recorded by Fred Åkerström, where it forms the title track of his third album of Bellman interpretations, as well as by Sven-Bertil Taube.	82 号书信由 Fred Åkerström 和 Sven-Bertil Taube 录制，成为他第三章 Bellman 演绎专辑的主打曲目。
It has been translated into English by Eva Toller.	它已被 Eva Toller 翻译成英文。
The song has featured in at least 16 Swedish films from 1929 onwards.	从 1929 年起，这首歌至少在 16 部瑞典电影中出现过。
Lars Lönnroth, writing in Svenska Dagbladet, suggests that the "spring" in the Epistle was in fact not a stream in summer meadows but a fashionable spa, perhaps Djurgårsbrunn on what was in Bellman's time the edge of Stockholm.	Lars Lönnroth 在 Svenska Dagbladet 中写道，书信中的“春天”其实不是夏天草地上的溪流，而是时尚的 spa，也许是 Bellman 时代斯德哥尔摩边缘的 Djurgårsbrunn。
Henrik Mickos, in the 2011 Bellman lecture, discussed what the "pimpinella" of the first verse might be, concluding that salad burnet (Sanguisorba minor) was quite likely, given it was known at the time as pimpinella, and was more common in Sweden then than it is now.	Henrik Mickos 在 2011 年的 Bellman 讲座中讨论了第一节的“pimpinella”可能是什么，结论是很可能是小地榆 (Sanguisorba minor) ，因为当时它被称为 pimpinella，而且那时在瑞典比现在更常见。
Mickos dismisses the possibility that it was aniseed (Pimpinella anisum), which was used to flavour brännvin but not as the song has it ("red wine and pimpinella") a wine-based punch.	Mickos 否定了这是八角茴香 (Pimpinella anisum) 的可能性，茴香是用来给 brännvin 调味的，但不是像歌曲中所说的那样（“红酒和茴香”）是一种葡萄酒潘趣。
Writing for The Boston Globe, Michael Andor Brodeur argued that while the show may feel like an advertisement for emoji, "the most satisfying part is watching self-proclaimed enthusiasts of the form stumble through their symbols once the difficulty is ever-so-slightly notched up....watching so much get lost in translation feels like a win.	Michael Andor Brodeur 为《波士顿环球报》撰文指出，虽然该节目可能感觉像是表情符号的广告，但“最令人满意的部分是看着自称为该形式的爱好者，一旦难度稍微提高，就只能勉强完成他们的符号...看到转换过程中失去了这么多信息，感觉是一种胜利。
In terms of ratings, the series' first two episodes debuted to 336,000 and 322,000 respective viewers, with a 0.10 and 0.09 18–49 rating respectively.	在收视率方面，该系列前两集的观众分别为 336,000 和 322,000 人，18–49 岁人群中的收视率分别为 0.10 和 0.09。
The episode followed up on the plot introduced in the final instalment of the second season in which a probe from an unknown alien race attacks Earth.	这一集延续了第二季最后一集介绍的情节，其中一个来自未知外星种族的探测器袭击了地球。
A number of new sets and costumes were required, with preparations beginning for some departments up to three weeks before filming began.	需要一些新的布景和服装，一些部门在开拍前三周就开始进行准备。
One change which was made was a new outfit for T'Pol, with costume tests taking place a week before filming began.	其中一个变化是为 T'Pol 换了新装，在开拍前一周进行了服装测试。
The redesign was because of studio executives wanting the show to appeal more to the 18–49 male demographic.	重新设计的原因是制片厂高层希望该剧能够更多地吸引 18-49 岁的男性人群。
The production team looked to the mid-series boost that the introduction of Seven of Nine provided on Star Trek: Voyager and sought for Enterprise to appeal to that demographic in the same manner.	制作团队参考了《星际迷航：航海家号》中引入九之七所带来的中期系列推进，并寻求企业号以同样的方式吸引该人群。
Kate O'Hara of New York Magazine later joked in reference to the change, "Women of the future will certainly choose to wear tight, uncomfortable, skin-tight catsuits!"	纽约杂志的 Kate O'Hara 后来在谈到这一变化时开玩笑说：“未来的女性肯定会选择穿紧身、不舒服的连体衣。”
"The Xindi" was seen as a new pilot by executive producers Brannon Braga and Rick Berman, who also wrote the episode.	“新地”被执行制片人 Brannon Braga 和 Rick Berman 看做是新试播集，他们也是这一集的编剧。
Braga said "We were re-establishing an Enterprise that was going to be a little bit different this year, so we had to think of it in those terms." They felt the best way to do this was to immediately reveal the Xindi to the audience, and to give the MACOs something to do in order to introduce them as well.	Braga 说：“我们正在重建企业号，今年会有点不同，所以我们必须从这些方面考虑。”他们认为做到这一点的最好方法就是立即向观众展示新地，给 MACO 安排一些事情做以便引入他们。
He called it a "big episode" as they sought to set up the rest of season.	他称这是一个“大集”，因为他们要为该季的其余部分做准备。
The shoot began on June 26, 2003, with the expectation that it would take nine days (as opposed to the usual seven) to complete.	拍摄于 2003 年 6 月 26 日开始，预计需要 9 天（而不是通常的 7 天）才能完成。
One of the special effects on the episode used ground Styrofoam which had been painted blue and processed through a wood chipper.	这一集的特效之一是使用了被涂成蓝色并通过碎木机处理过的聚苯乙烯泡沫塑料。
It was used to represent the mineral Trellium-D within the mine.	它被用来代表矿井中的矿物 Trellium-D。
However, the ground Styrofoam stuck to the actors' shoes and costumes and ended up being spread throughout the Paramount lot where the series was filmed.	然而，地面上的泡沫塑料粘在了演员的鞋服上，最后散落在拍摄该剧的派拉蒙摄制场。
It would turn up in unexpected places on set for the rest of the series, and was found in among the sets as they were being dismantled after the end of season four.	它会在该系列的其余部分出现在片场意想不到的地方，并在第四季结束后被拆除时在片场发现。
"The Xindi" featured several actors who would go on to recur in their roles throughout the third season of Enterprise.	“新地”中有几位演员，他们将在《企业号》第三季继续扮演其角色。
These included the MACO marines under the command of Major Hayes, played by Steven Culp.	其中包括由 Steven Culp 饰演的海斯少校指挥的 MACO 海军陆战队。
At the time of his appearance in "The Xindi", he felt that he did not have any characterisation to work with.	在出演“新地”时，他觉得自己没有任何角色刻画可言。
During the production of his second episode, "The Shipment", Culp read an article in the Los Angeles Times about a troubled youth who joined the military and in serving in the Iraq War had found himself.	在制作第二集“战舰”时，Culp 读到了《洛杉矶时报》上的一篇文章，其中讲述了一名问题青年参军并在伊拉克战争中服役时找到自我。
After discussing it with the director, this became the basis for the character.	在与导演讨论后，这成为了这个角色的基础。
Daniel Dae Kim made his first of three appearances in "The Xindi" as Corporal Chang; he had previously appeared as Gotana-Retz in the Voyager episode "Blink of an Eye".	Daniel Dae Kim 在“新地”中首次出场，饰演张下士；他曾在《航海家号》的“眨眼”这一集中饰演 Gotana-Retz。
The band were afforded more time to record than previous endeavors, and were listening to music such as Jawbreaker, Bad Religion and Lagwagon, which influenced the album.	与以前的努力相比，乐队获得了更多的时间来录音，并聆听了对专辑产生影响的 Jawbreaker、Bad Religion 和 Lagwagon 等音乐。
For production duties, the band worked with Mark Trombino, who provided additional piano and keyboards on Dude Ranch.	在制作方面，乐队与 Mark Trombino 合作，他在“观光牧场”中提供了额外的钢琴和键盘。
The trio picked him based on his work he had done on Jimmy Eat World's Static Prevails (1996). The group spent time trying to amuse Trombino, to no avail.	这个三人组是根据他为 Jimmy Eat World 的“静占上风”(1996) 所做的工作而挑选了他。该小组花了一些时间试图逗乐 Trombino，但无济于事。
Hoppus' sister, Anne Hoppus, described Trombino as very quiet during the sessions.	Hoppus 的妹妹 Anne Hoppus 描述说，Trombino 在会议期间非常安静。
Trombino, in a retrospective piece about the album, mentioned that he was "excited, but also nervous and intimidated.	Trombino 在关于这张专辑的回顾文章中提到，他“很兴奋，但也很紧张和害怕。
I felt weird that there were these guys who had sold way more records than I had ever sold and I'm sitting in the producer’s chair telling them what to do." Dude Ranch was recorded Big Fish Studios in Rancho Santa Fe, California in December 1996.	我觉得很奇怪，这些人的唱片销量远超于我，而我却坐在制片人的椅子上告诉他们该怎么做。”“观光牧场”于 1996 年 12 月在加州 Rancho Santa Fe 的大鱼录音棚录制。
Big Fish was a converted guesthouse which had just survived a wildfire months before.	大鱼是一间经过改造的宾馆，几个月前刚从一场野火中幸存下来。
However, the gloomy atmosphere did not faze Blink-182 at all, and what was a tragedy to local individuals became fodder for jokes for the group.	然而，阴暗的气氛丝毫没有让 Blink-182 感到害怕，对当地人来说是一场悲剧，但对这个团体来说却成了笑料的素材。
Bassist Mark Hoppus had just bought a new video camera and he filmed stunts with guitarist Tom DeLonge on the burnt landscape in spare time.	贝斯手 Mark Hoppus 刚刚买了一台新摄像机，他在业余时间与吉他手Tom DeLonge 在被烧毁的景观上拍摄了特技表演。
Despite this, Trombino was impressed by their work ethic: "They were the most business-centric band I'd ever seen at that point.	尽管如此，Trombino 对他们的工作态度印象深刻：“他们是我在那时见过的最以商业为中心的乐队。
They had their shit together."	他们很振作。”
Despite the creative boom while writing lyrics for the album, all three members of Blink-182 faced setbacks while recording Dude Ranch.	尽管在为专辑创作歌词时创意澎湃，但 Blink-182 的三位成员在录制“观光牧场”时都面临挫折。
DeLonge was having vocal problems and spent much time recording and re-recording vocal tracks, and Hoppus realized he too was having difficulty singing after losing his voice during a one-off Christmas concert.	DeLonge 的嗓子出了问题，花了很多时间录制和重录人声曲目，Hoppus 在一场一次性的圣诞音乐会上失声后，发现他也出现了歌唱困难。
Hoppus realized the magnitude of the situation and cancelled the final week of recording in December 1996.	Hoppus 意识到情况的严重，取消了 1996 年 12 月最后一周的录音。
He quit smoking in order to take care of his voice, which was stressed due to lack of vocal warm-ups, full days of vocal tracks, and the strain of singing for "Dammit", which was accidentally written just outside his vocal range.	为照顾他的嗓子，他戒了烟，由于缺乏声乐热身、成天的声乐曲目以及歌唱“Dammit”的压力，这首歌意外地写在他的音域之外。
Meanwhile, Raynor had to record his drum tracks while still in his wheelchair, the result of injuries sustained at the signing party.	同时，由于 Raynor 在签名会上受伤，他不得不在轮椅上录制鼓音轨。
He would wheelchair up to the drum set and scoot onto the drum throne and play," remembered Trombino in a later interview.	在后来的采访中，Trombino 回忆道：“他坐着轮椅来到架子鼓前，溜到鼓座上演奏。
"I got the sense that [the band] were bummed." Aside from the recording, the band spent time playing Crash Bandicoot and "reading the articles from the shelves and shelves of Playboys that the studio had thoughtfully provided." The group ate lunch nearly each day at Sombrero, a local Mexican restaurant namedropped in "Josie", and Chinese for dinner from Encinitas' Pick Up Stix.	“我感觉到[乐队]很沮丧。”除了录音之外，乐队还花时间演奏 Crash Bandicoot，并“阅读录音棚贴心提供的《花花公子》书架上的文章。” 这群人几乎每天都在“乔西”中提到的当地墨西哥餐厅 Sombrero 用午餐，晚餐则是在 Encinitas 的 Pick Up Stix 用中餐。
It would be January 1997 until the band would be able to wrap up sessions for Dude Ranch, eventually amounting to five weeks of recording.	直到 1997 年 1 月，乐队才得以结束“观光牧场”的录音，最终录制了五周时间。
For the final touches, Unwritten Law frontman Scott Russo donated a few vocal tracks to "Josie", and Trombino let Blink-182 record a couple of jokes between songs using a sound-effects machine he owned.	在最后的润色中，Unwritten Law 的主唱 Scott Russo 为“乔西”献出了几首人声曲目，Trombino 让 Blink-182 用他的一台音效机在歌曲之间录制了几个笑话。
Plunketts Creek is in the West Branch Susquehanna River drainage basin, the earliest recorded inhabitants of which were the Susquehannocks.	普朗克提溪位于萨斯奎哈纳河流域的西支流，那里有记录的最早居民是萨斯奎汉诺克人。
Their numbers were greatly reduced by disease and warfare with the Five Nations of the Iroquois, and by 1675 they had died out, moved away, or been assimilated into other tribes.	由于疾病和与易洛魁五部落联盟的战争，他们的人数极大减少，到 1675 年，他们已经灭绝、迁往别处或被其他部落同化。
The West Branch Susquehanna River valley was subsequently under the nominal control of the Iroquois, who invited displaced tribes, including the Lenape (Delaware) and Shawnee to live in the lands vacated by the Susquehannocks.	萨斯奎哈纳河谷西支流后来名义上由易洛魁人控制，他们邀请包括德拉瓦族（特拉华）和肖尼族在内无家可归的部落在萨斯奎哈诺克人腾出的土地上生活。
The French and Indian War (1754–1763) led to the migration of many Native Americans westward to the Ohio River basin.	法国印第安人战争 (1754–1763) 导致许多美洲原住民向西迁徙至俄亥俄河流域。
On November 5, 1768, the British acquired the New Purchase from the Iroquois in the Treaty of Fort Stanwix, including what is now Plunketts Creek.	1768 年 11 月 5 日，英国人签订斯坦维克斯堡条约，从易洛魁人手中买下这片土地，包括现在的普朗克提溪。
The first settlement along the creek by European colonists took place between 1770 and 1776.	1770 年至 1776 年，欧洲殖民者沿着这条小溪建立了第一个定居点。
Plunketts Creek is named for Colonel William Plunkett, a physician, who was the first president judge of Northumberland County after it was formed in 1772.	普朗克提溪是以科洛内尔•威廉•普朗克提医生命名的，他是 1772 年诺森伯兰县成立后的首任主审法官。
During conflicts with Native Americans, he treated wounded settlers and fought the natives.	在与美洲原住民的冲突中，他救治了受伤的殖民者并与原住民战斗。
Plunkett led a Pennsylvania expedition in the Pennamite-Yankee War to forcibly remove settlers from Connecticut, who had claimed and settled on lands in the Wyoming Valley also claimed by Pennsylvania.	普朗克提在宾那迈与扬基之战中领导一支宾夕法尼亚探险队，将殖民者从康涅狄格州强行驱离，这些殖民者曾声称拥有怀俄明山谷的土地并定居在那里，而宾夕法尼亚州同样声称拥有那片土地。
For his services, Plunkett was granted six tracts of land that totaled 1,978 acres (800 ha) on November 14, 1776, although the land was not actually surveyed until September 1783.	为了表彰他的贡献，1776 年 11 月 14 日，普朗克提获得六块总共 1,978 英亩（800 公顷）的土地，但直到 1783 年 9 月才对这片土地进行实际测量。
Plunkett's land included the creek's mouth, so Plunketts Creek was given his name.	普朗克提的土地中包含这条小溪的河口，因此普朗克提溪以他的名字命名。
He died in 1791, aged about 100, and was buried in Northumberland without a grave marker or monument (except for the creek that bears his name).	他于 1791 年去世，享年 100 岁左右，安葬于诺森伯兰县，没有墓碑或纪念碑（除了以他的名字命名的小溪）。
Lycoming County was formed from Northumberland County in 1795.	莱康明县于 1795 年由诺森伯兰县成立。
When Plunketts Creek Township was formed in Lycoming County in 1838, the original name proposed was "Plunkett Township", but Plunkett's lack of active support for the American Revolution some years earlier had led some to believe his loyalty lay with the British Empire.	1838 年，普朗克提溪镇在莱康明县成立时，最初提议的名称是“普朗克提镇”，但几年前普朗克提没有对美国独立战争提供积极的支持，导致有些人认为他效忠于大英帝国。
The lingering suspicion of his loyalist sympathies led to the proposed name being rejected.	由于仍然怀疑他是否支持他所效忠的人，因此该提议名称被拒绝。
Naming the township for the creek rather than its namesake was seen as an acceptable compromise.	用这条小溪而不是同名之人的名字命名该镇被认为是一种可以接受的折中方案。
In 1832, John Barbour built a sawmill on Loyalsock Creek near the mouth of Plunketts Creek.	1832 年，约翰•巴伯在普朗克提溪河口附近的洛亚尔索克溪上建了一座锯木厂。
This developed into the village of Barbours Mills, today known as Barbours.	这就发展形成了巴伯米尔斯村，如今称为巴伯斯。
In the 19th century, Barbours had several blacksmiths, a temperance hotel, post office, many sawmills, a school, store and wagon maker.	在 19 世纪，巴伯斯有几个铁匠、一家禁酒旅馆、邮局、许多锯木厂、一所学校、商店和马车制造商。
In 1840, a road was built north from Barbours along Plunketts Creek, crossing it several times.	1840 年，从巴伯斯向北沿着普朗克提溪修建了一条马路，这条马路多次穿过小溪。
Rubidium was discovered in 1861 by Robert Bunsen and Gustav Kirchhoff, in Heidelberg, Germany, in the mineral lepidolite through flame spectroscopy.	1861 年，罗伯特•本生和古斯塔夫•基尔霍夫于德国海德堡通过火焰光谱法在矿物锂云母中发现铷。
Because of the bright red lines in its emission spectrum, they chose a name derived from the Latin word rubidus, meaning "deep red".	由于其发射光谱中有明亮的红色线条，他们选择了一个源自拉丁语 rubidus 的名字，意为“深红色”。
Rubidium is a minor component in lepidolite.	铷是锂云母中的微量成分。
Kirchhoff and Bunsen processed 150 kg of a lepidolite containing only 0.24% rubidium oxide (Rb₂O).	基尔霍夫和本生处理了 150 kg 的锂云母，其中仅含 0.24% 的一氧化铷 (Rb₂O)。
Both potassium and rubidium form insoluble salts with chloroplatinic acid, but those salts show a slight difference in solubility in hot water.	钾和铷均与氯铂酸形成不溶性盐，但这些盐在热水中的溶解度略有不同。
Therefore, the less soluble rubidium hexachloroplatinate (Rb₂PtCl₆) could be obtained by fractional crystallization.	因此，溶解度更低的六氯铂酸铷 (Rb₂PtCl₆) 可以通过分离结晶方法获得。
After reduction of the hexachloroplatinate with hydrogen, the process yielded 0.51 grams of rubidium chloride for further studies.	用氢还原六氯铂酸铷后，该过程产生 0.51 克氯化铷供进一步研究。
Bunsen and Kirchhoff began their first large-scale isolation of caesium and rubidium compounds with 44,000 litres (12,000 US gal) of mineral water, which yielded 7.3 grams of caesium chloride and 9.2 grams of rubidium chloride.	本生和基尔霍夫开始用 44,000 升（12,000 美制加仑）矿泉水，首次大规模分离铯和铷成分，产生 7.3 克氯化铯和 9.2 克氯化铷。
Rubidium was the second element, shortly after caesium, to be discovered by spectroscopy, just one year after the invention of the spectroscope by Bunsen and Kirchhoff.	铷是继发现铯后不久，通过光谱学发现的第二个元素，而这仅发生在本生和基尔霍夫发明光谱仪一年后。
The two scientists used the rubidium chloride to estimate that the atomic weight of the new element was 85.36 (the currently accepted value is 85.47).	两位科学家利用氯化铷估算出新元素的原子量为 85.36（目前的公认值为 85.47）。
They tried to generate elemental rubidium by electrolysis of molten rubidium chloride, but instead of a metal, they obtained a blue homogeneous substance, which "neither under the naked eye nor under the microscope showed the slightest trace of metallic substance".	他们试图通过电解熔化的氯化铷生成铷元素，但他们得到的不是金属，而是蓝色的均质物质，这种物质“无论用肉眼还是显微镜观察，都丝毫没有表现出金属物质的痕迹”。
They presumed that it was a subchloride (Rb	他们推测它是一种低氯化物 (Rb
₂Cl); however, the product was probably a colloidal mixture of the metal and rubidium chloride.	₂Cl)；但是，这个产物很可能是金属与氯化铷的胶体混合物。
In a second attempt to produce metallic rubidium, Bunsen was able to reduce rubidium by heating charred rubidium tartrate.	在第二次尝试生成金属铷时，本生能够通过加热焦化的酒石酸降低铷的含量。
Although the distilled rubidium was pyrophoric, they were able to determine the density and the melting point.	虽然蒸馏出的铷会自燃，但他们能够确定密度和熔点。
The quality of this research in the 1860s can be appraised by the fact that their determined density differs by less than 0.1 g/cm³ and the melting point by less than 1 °C from the presently accepted values.	19 世纪 60 年代的这项研究的质量值得肯定：因为他们确定的密度与目前的公认值相差小于 0.1 g/cm³，而熔点则相差小于 1 °C。
The slight radioactivity of rubidium was discovered in 1908, but that was before the theory of isotopes was established in 1910, and the low level of activity (half-life greater than 10¹⁰ years) made interpretation complicated.	铷的轻微放射性是在 1908 年发现的，但这是在 1910 年同位素理论建立之前，而且其低水平的活性（半衰期大于 10¹⁰ 年）导致解释起来相当复杂。
The now proven decay of ⁸⁷Rb to stable ⁸⁷Sr through beta decay was still under discussion in the late 1940s.	现在已经证实的 ⁸⁷Rb 通过贝塔衰变，衰变到稳定的 ⁸⁷Sr 的过程在 20 世纪 40 年代后期仍在讨论中。
Rubidium had minimal industrial value before the 1920s.	在 20 世纪 20 年代以前，铷的工业价值很小。
Since then, the most important use of rubidium is research and development, primarily in chemical and electronic applications.	从那以后，铷的最重要用途是研究和开发，主要用于化学和电子应用。
The history of the tea processing corresponds intimately with the role that tea played in Chinese society and the preferred methods of its consumption in ancient Chinese society.	茶叶的加工史与茶叶在中国社会扮演的角色以及中国古代社会偏好的茶叶消费方式密切相关。
Variations of these processing techniques are still used in modern tea processing albeit being far more mechanized.	这些加工技术的变型在现代茶叶加工中仍旧使用，只是机械化程度更高。
The ancient Chinese society first encountered the tea plant in what is now southern China and processed it as another medicinal herb for use in Chinese herbology.	中国古代社会最先在现在的中国南方发现茶树，并将其加工成另一种草药，用于中草药学。
The processing technique used to process fresh tea leaves was to immediately steam the fresh tea leaves and dry them for preservation, which is likely the most ancient Chinese form of tea leaf processing.	用于加工鲜茶叶的加工技术是，立即将鲜茶叶蒸青并烘干以便保存，这可能是中国最古老的茶叶加工方式。
This processing method was perfected near the end of the Han Dynasty (206 BCE-220 CE) and produced a dried tea that would be classified today as "green tea" and quite similar to modern Japanese sencha.	这种加工方法在汉朝末期（公元前 206 年至公元 220 年）得到完善，制成了今天归类为“绿茶”的干茶，它与现代的日本煎茶很相似。
For consumption, dried tea leaves were either decocted with water around with other herbs, or ground into a powder to be taken straight, or in a liquid in the manner of matcha.	食用时，干茶叶或用水与其他草药一同煎煮，或磨成粉末直接服用，或以抹茶的方式加入液体中。
With the increase of tea's use in Chinese herbology, production methods changed, where the processed green tea leaves were not immediately dried after steaming.	随着茶叶在中草药学中使用量的增加，制作方法发生改变，加工后的绿茶叶在蒸青后不会立即烘干。
Rather the steamed tea leaves were first pulverized into a paste form, with the paste then formed in moulds and slowly dried into brick tea, a technique well described by Lu Yu in his work The Classic of Tea.	蒸青后的茶叶先磨成糊状，然后将糊状物在模具中定型并缓慢烘干成茶砖，这项技术在陆羽所著的《茶经》中进行了详细介绍。
Tender leaves and leaf buds were generally not used, as older mature tea leaves were preferred for tea production.	嫩叶和叶芽一般不会使用，因为较老的成熟茶叶更适合制茶。
Some tea bricks were also produced from mature whole leaves, which typically required the use of a cooked rice slurry (米湯) to bind the tea brick together.	一些茶砖也由成熟的整片叶子制成，这通常需要使用煮熟的米汤将茶砖粘合在一起。
The preference of producing tea in brick form possibly stems from the fact that it can be more easily transported and stored.	人们喜欢将茶叶制成茶砖可能是因为它更容易运输和储存。
The use of steam in fixation (殺青) of tea leaf enzymes is an important step in processing tea, with the leaves quickly cooled down and then undergoing further processing.	利用蒸汽对茶叶酶进行杀青是加工茶叶的重要步骤，在这个步骤中，茶叶迅速冷却，然后进行进一步加工。
The less tightly controlled methods of it in the past resulted in the creation of "yellow tea" when the tea leaves were over-steamed for fixation or were not quickly spread out, doused with water and cooled.	过去这种控制不太严格的方法导致在茶叶过度蒸煮以杀青或未迅速散开、浇水和冷却时会形成“黄茶”。
Although green tea was the most popular in Lu Yu's time, he personally considered yellow tea to be superior to green.	虽然在陆羽时代，最受欢迎的是绿茶，但他个人认为黄茶要优于绿茶。
Even when the leaves were quickly cooled, if they are left in piles (渥堆) for too long before processing, the leaves will begin to undergo microbial fermentation to produce "post-fermented tea".	即使在茶叶迅速冷却后，如果在加工前渥堆时间过久，茶叶也会开始进行微生物发酵，产生“后发酵茶”。
This technique is somewhat similar to composting, albeit tightly controlled, and still used in the production of Liu'an tea (安徽六安籃茶) and was more recently introduced for the production of the "ripe" type pu-erh tea.	这种技术有点类似于堆肥，虽然受到严格控制，但仍被用于生产安徽六安篮茶，最近则被用于生产属于“熟茶”类型的普洱茶。
The production of tea in brick forms and their storage also resulted in another type of post-fermented tea, which was produced by aging.	茶砖在生产及储存过程中还能够演变成另一种类型的后发酵茶，它是通过陈化生产的。
The long transport and storage times of the day unwittingly allowed the tea bricks to undergo prolonged exposure to the elements and to various microflora, which resulted in the aging, oxidation, and fermentation of green brick teas.	一天中漫长的运输和储存会不知不觉地使茶砖长时间暴露在各种元素和各种微生物区系中，从而导致绿茶茶砖发生陈化、氧化和发酵。
A brick of green tea that had been stored and aged into post-fermented tea was charred over charcoal to rid it of the layer of detritus, dust, and shiny multicoloured growths before being broken down into a powder, cooked, and then consumed.	将经储存并陈化制成的后发酵茶的绿茶茶砖放在木炭上烧焦，以去除碎屑、灰尘和闪亮多彩的杂质，然后即可将其拆成粉末、烹煮并饮用。
By the end of Tang Dynasty (618-907CE) green, yellow, and post-fermented tea was commonly used in China and moved from purely being used in herbology to becoming a beverage drunk for pleasure.	唐朝末年（公元 618-907 年），绿茶、黄茶和后发酵茶在中国受到普遍使用，并从纯粹用作草药转变为休闲饮品。 
New Directions' director Will Schuester (Matthew Morrison) suspects that cheerleading coach Sue Sylvester (Jane Lynch) has been colluding with rival glee clubs, and visits the Jane Addams Academy for girls recently released from juvenile detention.	新方向主管威尔·舒斯特（马修·莫里森饰）怀疑啦啦队教练苏·西尔维斯特（简·林奇饰）与竞争对手的欢乐合唱团勾结，并到简·亚当斯学院探访了最近从少年拘留所获释的女孩们。
When their club director Grace Hitchens (Eve) reveals the extent of the school's under-funding, Will invites her club to perform in the McKinley High auditorium.	当他们的合唱团主管格蕾丝·希钦斯（伊芙饰）透露学校资金不足的程度时，威尔邀请她的合唱团在麦金利高中礼堂演出。
Will is intimidated by their opposition, but Rachel (Lea Michele) assures him that the girls are using the power of "hairography"—frequent, dramatic hair-tossing—to distract from the fact their singing and dancing ability is limited. Will purchases wigs for New Directions and has them utilize hairography themselves, performing a mash-up of "Hair" and "Crazy in Love".	威尔被她们的反对声吓到了，但瑞秋（莉亚·米歇尔饰）向他保证，女孩们将动用“发型”的力量（频繁、夸张地甩头发）来转移人们对她们唱歌和跳舞能力有限这一事实的注意力。威尔为新方向购买了假发，并让他们自己能够利用起发型，完成了《Hair》与《Crazy in Love》的混音表演。
Dalton Rumba (Michael Hitchcock), glee club director at Haverbrook School for the Deaf, feels slighted by the invitation Will extended to the Jane Addams Academy, and arranges for his own club to also perform at McKinley High.	哈维布鲁克聋哑学校的欢乐合唱团主管道尔顿·伦巴（迈克尔·希区柯克饰）因威尔向简·亚当斯学院发出邀请而感觉受到轻视，并安排他自己的合唱团也前往麦金利高中进行演出。
His club duets with New Directions on John Lennon's "Imagine", and Will realizes that the new mash-up and hairography routine is not working.	他的合唱团与新方向合唱了约翰·列侬的《Imagine》，威尔意识到新的混音和发型这种惯用做法将不起作用。
He removes it from the club's set-list, replacing it with a performance of "True Colors".	他将它从合唱团的演出曲目中删除，取而代之的是表演了一首《True Colors》。
Unbeknownst to Will, Sue reveals two songs from New Directions' line-up for sectionals to Grace and Dalton, suggesting they have their own clubs perform them to gain an edge in the competition.	威尔不知道的是，苏向格蕾丝和道尔顿透露了新方向节目阵容中的两首歌曲，建议他们让自己的合唱团表演这些歌曲以在比赛中获得优势。
Quinn (Dianna Agron) begins to doubt her decision to give her baby to Will's wife Terri (Jessalyn Gilsig), and re-considers her stance on raising the baby with Puck (Mark Salling) instead of Finn (Cory Monteith).	奎因（黛安娜·阿格隆饰）开始怀疑她将孩子交给威尔的妻子泰瑞（杰萨琳·吉尔西格饰）的决定，并重新考虑了她与帕克（马克·萨林饰）而非芬恩（科里·蒙特斯饰）抚养孩子的立场。
She tells Terri she wants to keep the baby, but in an effort to change her mind, Terri's sister Kendra (Jennifer Aspen) has Quinn babysit her three unruly sons.	她告诉泰瑞她想留下孩子，但为了改变她的主意，泰瑞的姐姐肯德拉（詹妮弗·阿斯彭饰）让奎因照看她三个任性的儿子。
Quinn invites Puck to babysit with her and the two bond, however when Quinn discovers that Puck spent the evening sexting his ex-girlfriend Santana (Naya Rivera), she re-commits to having the baby adopted, believing her daughter deserves a better father.	奎因邀请帕克与她一起照看这两个累赘，然而当奎因发现帕克整晚都在给他的前女友桑塔纳（娜雅·里维拉饰）发色情短信时，她认为她的女儿应该有一位更好的父亲，因此重新承诺让孩子被人收养。
Kurt (Chris Colfer) gives Rachel a make-over, ostensibly to help her attract Finn, but in reality attempting to sabotage her chances with him.	科特（克里斯·柯尔弗饰）给瑞秋化了妆，表面上是为了帮她吸引芬恩，但实际上是在试图破坏她和他在一起的机会。
Finn is unimpressed with Rachel's new look before telling her he remembered having the conversation with Kurt about what he liked in girls.	芬恩对瑞秋的新面貌无动于衷，然后告诉她他记得曾与科特谈论过他喜欢女孩的哪些特质。
Rachel confronts Kurt, stating that even if he is in love with Finn, she will always have a better chance "because [she's] a girl".	瑞秋对峙科特，说即使他爱上了芬恩，她的机会也总是更大，“因为[她]是个女孩”。
But Kurt tells her that they are both kidding themselves: Finn is in love with Quinn and nothing will change that.	但科特告诉她，他们俩都是在自欺欺人：芬恩爱上了奎因，什么也改变不了这一点。
"Hairography" was written by series creator Ian Brennan, and directed by Bill D'Elia.	《Hairography》由剧集创作者伊安·布瑞南编写，由比尔·德埃利亚执导。
Recurring characters who appear in the episode are glee club members Brittany (Heather Morris), Santana Lopez (Rivera), Mike Chang (Harry Shum Jr.) and Matt Rutherford (Dijon Talton), Terri's sister Kendra Giardi (Aspen), Kendra's husband Phil (Michael Loeffelholz), and their triplet sons (Aidan, Ethan and Ben Freedman).	这一集中反复出现的角色为欢乐合唱团成员布列塔尼（海瑟·莫里斯饰）、桑塔纳·洛佩兹（里维拉饰）、张迈克（岑勇康饰）、马特·卢瑟福（迪让·陶顿）、泰瑞的姐姐肯德拉·贾迪（阿斯彭饰）、肯德拉的丈夫菲尔（迈克尔·洛弗霍尔兹饰）和他们的三胞胎儿子（艾丹、伊桑和本·弗里德曼饰）。
Hitchcock guest-stars as rival glee club director Dalton Rumba, and rapper Eve plays another club director, Grace Hitchens.	希区柯克客串出演了竞争对手欢乐合唱团的主管道尔顿·伦巴，而说唱歌手伊芙则饰演了另一位合唱团主管格蕾丝·希钦斯。
So You Think You Can Dance contestants Katee Shean, Kherington Payne and Comfort Fedoke appear as members of Grace's club.	《舞魅天下》的参赛者凯蒂·谢恩、科林顿·佩恩和康福特·费达克现身饰演了格蕾丝合唱团的成员。
Eve was contracted to appear in two episodes of Glee, having been offered the role of Grace after Whitney Houston declined to appear.	在惠特尼·休斯顿拒绝参演后，伊芙签约出演两集《欢乐合唱团》，饰演格蕾丝一角。
Discussing her casting, Eve stated: "I got asked and I'd heard the buzz about the show.	在谈及她的角色分配时，伊芙说：“有人问过我，我听说了人们关于这个节目的议论。
SH-58 was first commissioned some time between March 1, 1930 and December 1, 1931.	SH-58 于 1930 年 3 月 1 日至 1931 年 12 月 1 日之间的某一时间首次投入使用。
The original extent of the route was much shorter than the present highway.	这条公路的原始长度比现今的高速公路要短得多。
In 1931, SH-58 was a dirt road extending from SH-8 east of Fairview north to Ringwood.	SH-58 在 1931 年还是一条土路，从费尔维尤北部的 SH-8 东段延伸至灵伍德。
Prior to receiving the SH-58 designation, this section of road was part of US-164 and the first SH-13.	在被冠以 SH-58 这一名称之前，该路段是 US-164 的部分路段和 SH-13 的起始路段。
On May 29, 1930, AASHO approved an extension of US-60 that replaced US-164.	1930 年 5 月 29 日，AASHO 批准了延长 US-60，以取代 US-164。
When US-60 replaced US-164 through the area, it was changed to the more westerly route it takes in the present day.	当 US-60 取代 US-164 贯通该地区时，它变成了如今更加偏西的公路。
The section of old U.S. highway that no longer had a designation became SH-58.	旧的美国高速公路中不再具备冠名的路段变成了 SH-58。
Throughout the 1930s, SH-58 was expanded in both directions.	20 世纪 30 年代，SH-58 向两个方向进行了扩建。
The first addition to the highway came during the first half of 1932, when the highway was extended north to Helena.	高速公路于 1932 年上半年进行了首次增建，向北延伸至海伦娜。
No east–west highway existed at this point yet, leading to a spur end.	此时还没有东西向高速公路，通往支线尽头。
The highway was extended to the south, replacing SH-44, to Canton on March 29, 1937. SH-58 was extended north to the Kansas state line sometime between April 1937 and April 1938.	高速公路于 1937 年 3 月 29 日向南延伸至坎顿，取代了 SH-44。SH-58 于 1937 年 4 月至 1938 年 4 月之间的某一时间向北延伸至堪萨斯州州道。
This final extension brought SH-58's northern section to its present-day termini, and no major changes to the northern section have occurred since.	最后这次扩建将 SH-58 的北路段带到了如今的终点，北路段此后便没有发生过重大变化。
SH-58's southern section was first established on October 16, 1945, when SH-54 was given a new alignment further to the west; its old alignment was redesignated as SH-58.	SH-58 的南段首建于 1945 年 10 月 16 日，当时 SH-54 被分配了更靠西的新路线；它的旧路线被重新冠名为 SH-58。
The original routing of SH-58's southern section began at US-277 in Cyril, continued west through Apache, and turned north at the present-day western intersection of with SH-19.	SH-58 南段的最初路线始于西里尔的 US-277，继续向西穿过阿帕奇，并在如今与 SH-19 西段的交汇处向北转。
SH-58 continued north along its present alignment to Hydro, where it ended at US-66/SH-1.	SH-58 如今的路线继续向北延伸至海德鲁，以 US-66/SH-1 为终点。
In 1955, SH-19 was established through southern Caddo County, taking over the east–west section of SH-58.	SH-19 建于 1955 年，贯穿卡多县南部，接管了 SH-58 的东西段。
Thus, SH-58 was truncated to where it intersected with SH-19 (the present day western end of their concurrency).	因此，SH-58 在与 SH-19 交汇处（如今为它们的共同西端点）截断。
SH-58 was extended to its present terminus north of Hydro the next year.	次年，SH-58 延伸至位于海德鲁北部的当前终点。
The highway was further extended in 1964, bringing the southern terminus to its present location near Medicine Park.	高速公路于 1964 年进一步延长，将南终点带到了如今的医药公园附近位置。
No further routing changes have occurred since then.	此后没有发生过进一步路线变更。
Live at Wembley was filmed at the London's Wembley Arena show of the Dangerously in Love Tour, Beyoncé's first international solo tour, on November 10, 2003.	2003 年 11 月 10 日，伦敦温布利体育馆放映的《濒危爱情之旅》中播放了《温布利的生活》，这是碧昂斯的第一次国际独自旅行。
The tour supported her debut solo album, Dangerously in Love (2003).	这次旅行让她出版了首张专辑《濒危爱情》（2003 年）。
Most of the songs on Live at Wembley originate from that album, but it also contains a medley of past songs by her former group Destiny's Child and two soundtrack singles: "Work It Out" and "Summertime".	《温布利的生活》中的大多数歌曲都是都源自该专辑，但还包含她前一组 Destiny's Child 中的歌曲以及两首原声单曲：“Work It Out”和“Summertime”。
The second disc of Live at Wembley contains three previously unreleased studio recorded songs, including a cover of Rose Royce's "Wishing on a Star", and one remix each of "Crazy in Love", "Baby Boy" and "Naughty Girl".	《温布利的生活》的第二张碟包含三首以前在录音棚录制但未发行的歌曲，其中包括罗斯-罗伊斯翻唱的“Wishing on a Star”以及重新合成的“Crazy in Love”、“Baby Boy”和“Naughty Girl”。
Behind-the-scenes footage can be also seen on the DVD.	在 DVD 上还可以看到幕后花絮。
The concert audio was mixed by Rick Camp, the same engineer who mixed at the concert venues.	演唱会音频由雷克-坎普合成，他也是负责音乐会现场混音的工程师。
It is uncommon for mix engineers to specialize in both live and recorded mixing.	在现场和录音混音两方面都擅长的混音工程师很少。
For Camp, "Mixing Beyoncé is a pleasure because she's a real singer and makes it easy.	对坎普来说，“为碧昂斯混音很愉快，因为她是一个真正的歌手，所以混音很简单。
There is hardly an overdub on this project — it's 95 percent live Beyoncé." He further talked about the collaboration with Beyoncé with Mix magazine, saying: "In my 22 years of mixing, I've never come across anyone who could deliver like she does: vocally and her ability to do a show.	这个项目几乎没有原带加录 — 95% 都是碧昂斯的现场演唱。”他进一步谈到了与碧昂斯在《Mix》杂志中的合作，说：“在我 22 年的混音生涯中，从来没有遇到这样出色的歌手：她的声音和表演能力令人难以置信。
I've seen this young woman run across a 60-foot stage, hit every note and never miss a thing.	我看到这位年轻的女士在 60 英尺的舞台上，每一个音准都把握到位，从来没有错过。
And that makes my job so much easier."	这样我们的工作就变得非常简单。”
On stage, Beyoncé was backed by several male and female dancers performing choreography during the show.	在舞台上表演时，有几个男女舞蹈演员为碧昂斯伴舞。
DJ Diamond who served as a DJ during the performances and a backing band provided the music.	DJ 戴蒙德在表演时担任 DJ，伴奏乐队提供音乐。
The performance starts with footage of the crowd during the concert cheering before the appearance of Beyoncé.	表演开始时，是碧昂斯出场前现场观众欢呼的镜头。
The curtains are lifted to reveal the stage and Beyoncé appears in red clothes hanging upside down while being taken to a sofa on the stage with a harness singing "Baby Boy".	帘幕升起，现出舞台，碧昂斯一袭红衣倒垂，一边唱着“Baby Boy”，一边被安全带引向舞台上的沙发。
She is backed by a big screen and several dancers on stage who perform a choreography around her.	她背后是一个大屏幕，舞台上有几名舞蹈演员伴舞。
She later starts dancing with them as the song plays and a breakdown towards the end is also featured.	后来在歌曲播放时，她开始与舞蹈演员共舞，并以跺脚曳步舞一直到结束。
She asks from the girls in the crowd to sing to "Naughty Girl" as she dances with background dancers while the words "Naughty Girl" are displayed on the screen behind her.	当她与后台舞蹈演员共舞时，观众中有女孩要她唱“Naughty Girl”，同时她身后的屏幕上显示“Naughty Girl”。
Towards the end of the song she performs portions of Vanity 6's song "Nasty Girl" (1982) as a short dance break.	在歌曲快要结束时，舞蹈之间有一个短暂的休息，她演唱了 Vanity 6 的歌曲“Nasty Girl”(1982) 的一部分。
The lights are turned off and later silhouettes of Beyoncé and her dancers appear performing a choreography in front of the screen which is colored white while a backing track is played.	灯光熄灭，碧昂斯和伴舞的身影显现，在白色的荧屏前跳舞，同时播放伴奏曲。
Stelmach's policy on health care was highlighted by his removal of the province's health care premiums effective the end of 2008.	从 2008 年底开始取消省内医疗保险费，突出了施特默对于医疗保健的政策。
Critics had denounced the premiums as being regressive, both because they were the same amount regardless of the payer's income and because people with better-paying jobs often had their premiums covered by their employer.	批评家谴责保险费是退步，因为无论支付者的收入为何，缴纳的金额都一样，而且工资高的人通常会有雇主给他们支付保险费。
The opposition Liberal and New Democratic parties had long called for their removal.	对立的自由党和新民党都一直呼吁取消保险费。
This elimination was announced in a throne speech immediately before the dissolution of the legislature for the 2008 election, although it was initially promised to take effect by 2012.	在 2008 年立法会选举解散之前的施政报告中宣布取消保险费，但最初承诺在 2012 年之前生效。
During this campaign, Stelmach promised to increase the capacity of Alberta universities to train doctors and nurses over four years, eventually resulting in the graduation of 225 more doctors, 350 more registered nurses, and 220 licensed practical nurses.	在此活动期间，施特默承诺阿尔伯特大学将会扩招，以培训四年制的医生和护士，最终多输送 225 名医生、350 名注册护士和 220 名持证实习护士。
After the registrar of the Alberta College of Physicians and Surgeons called the plan unfeasible, Health Minister Dave Hancock clarified that most of the increase would in fact come from the immigration of foreign doctors to Alberta, rather than from in-province training.	在阿尔伯特医科大学注册主任表示计划不可行之后，卫生部长戴夫-汉考克澄清，大多数增长实际会来自外籍医生移民到阿尔伯特，而不是省内培训。
Following the election, Stelmach's new Minister of Health, Ron Liepert, released the government's new health plan.	在选举后，施特默的新任卫生部长润-利伯特发布了政府的新健康计划。
In it, Liepert refused to characterize the problems in the health care system as being the result of doctor shortages, and instead promised structural reforms.	其中，利伯特拒绝将健康保健系统的问题归为医生短缺的结果，而承诺进行结构性的改革。
He indicated that these may include consolidating health authorities, closing rural hospitals, and de-listing some health services from coverage under the province's public health insurance scheme.	他表示，这些可能包括合并卫生机构、关闭农村医院，以及从省公共医疗保险方案中删除一些给付的医疗服务。
In May, the government took the first step in implementing these structural reforms by combining the province's nine health authorities into one health "superboard".	五月，政府将省九个卫生机构合并为一个卫生“超级委员会”，迈出了结构性改革的第一步。
In June 2008, three senior health officials announced that they would be leaving the province's employment at the expiration of their contracts in August.	2008 年 6 月，三名资深的卫生官员宣布，他们将在八月份合同到期后离开省卫生机构。
Liepert blamed their departures on better offers from other employers, although New Democrat leader Brian Mason speculated that the government's health restructuring may have been to blame.	利伯特责备他们是因其他雇主提供更好的待遇而辞职，但新民党领导人布莱恩-梅森猜测政府的卫生机构重组可能是罪魁祸首。
Detractors pointed out that the optics of allowing the employees to depart for more money elsewhere soon after the government had approved a substantial pay hike for cabinet ministers were not good.	恶意批评者指出，在政府批准为内阁大臣加薪后不久又批评雇员离职到其他地方谋求高薪是不道德的。
As the province's fiscal situation worsened in late 2008, the government adapted its health policy.	在 2008 年后期，随着省财政状况的恶化，政府调整了卫生政策。
In December, Liepert announced a new seniors drug plan that made drugs free for seniors making less than $21,325 but required those making more to pay as much as $7,500 for their drugs.	十二月，利伯特颁布了新的老年人药物计划，为收入低于 $21,325 的老年人提供免费药物，但收入高的需要为药物支付高达 $7,500。
In response to protests from seniors, he amended the plan in April 2009 to reduce both the income level at which seniors would have to start paying and the amount which those seniors would have to pay.	为回应老年人的抗议，他在 2009 年 4 月修订了计划，降低了老年人开始支付的收入水平标准，以及这些老年人必须支付的金额。
Liepert said that the plan, $10 million more expensive than the one he had announced in December, would see 60% of seniors pay less than they did under the status quo.	利伯特说，这个计划比他在十二月份宣布的计划要多支出 1 千万美元，60% 的老年人会比目前支付更少的费用。
The same month, Stelmach's government's budget revealed changes to which medical services it would cover: those de-listed included chiropractic services, at an annual savings of $53 million, and sex change operations, at an annual savings of $700,000.	当月，施特默的政府预算显示了其涵盖的医疗服务的变化：剔出名单的包括脊椎指压按摩服务，每年可节省 5300 万美元，以及变性手术，每年可节省 70 万美元。
While the Canada Health Act requires the federal government to financially penalize provinces that do not support all "medically necessary" procedures, Liepert maintained that the de-listed services were not "medically necessary" from the perspective of the Act, and said that he anticipated no trouble from the federal government.	虽然《加拿大卫生法案》要求联邦政府从财政上处罚不支持所有“医疗必需”程序的省份，但利伯特坚称剔出名单的服务从法案的角度来看不是“医疗必需”，并且预计联邦政府不会找麻烦。
During the 2009 H1N1 pandemic, Stelmach initially announced that the government would make the vaccine available to all Albertans, though vaccine shortages resulted in a limited number of clinics, which experienced long lineups.	2009 年 H1N1 疫情期间，施特默最初宣布，政府将为所有阿尔伯特人提供疫苗，虽然疫苗的短缺导致了诊所不足，人们要排很长的队。
Wright died at home in London of cancer on 15 September 2008, aged 65.	2008 年 9 月 15 日，怀特因癌症死于伦敦的家中，享年 65 岁。
At the time of his death, he had been working on a new solo album, which was thought to comprise a series of instrumental pieces.	直到他去世，他一直在致力于新的个人专辑，据说其中包含一系列器乐。
The surviving members of Pink Floyd paid Wright tribute.	平克-弗洛伊德的其他成员向怀特致敬。
Waters said "it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s" and was happy that they had managed to reunite for Live 8. Mason said Wright's contributions to Floyd were under-rated, and that his playing "was the sound that knitted it all together", comparing his "quiet one" status in the band to George Harrison.	沃特斯说“他动听的声音对 60 和 70 年代的平克-弗洛伊德的重要性难以估量”，并且对他们因 Live 8 重新聚到一起感到高兴。梅森说怀特对弗洛伊德的贡献被低估了，他的演奏“是集大成的声音”，将他在乐队中的“安静的一个”身份比作乔治-哈里森。
Gilmour called him "my musical partner and my friend", praised the ability of the two men's voices to blend, such as on "Echoes".	吉尔莫称他为“我的音乐伙伴，我的朋友”，赞扬了他混合两个男人的声音的能力，例如在“Echoes”中。
Wright's death brought Pink Floyd to a formal end, with Gilmour re-iterating that it would be wrong to resume touring without him.	怀特的去世宣告平克-弗洛伊德正式终止，吉尔莫反复说，没有了怀特，继续巡回演出是错误的。
On the day of Wright's death, Elton John, while playing a concert in Saskatoon, Saskatchewan, Canada dedicated the song "Believe" to him.	在怀特去世的当天，正在加拿大萨斯喀彻温萨斯卡通演奏音乐会的艾尔顿-约翰为他献上歌曲“Believe”。
On 23 September, Gilmour performed "Remember a Day", a Wright composition from Pink Floyd's second album, A Saucerful of Secrets, on a live broadcast of Later... with Jools Holland on BBC Two as a tribute to Wright.	9 月 23 日，吉尔莫表演了“Remember a Day”，这是怀特在平克-弗洛伊德的第二张专辑 A Saucerful of Secrets 中的作品，后来与朱尔斯-霍兰德在 BBC Two 上现场直播，向怀特致敬。
In an interview later on in the show, Gilmour said that Wright had intended to perform with him that day, but that he had texted Gilmour a couple of weeks before his death to advise him that he would not be well enough to attend.	后来在节目中采访时，吉尔莫说怀特本计划当天与他一起表演，但他在去世前几个星期给吉尔莫发了一条信息，表示健康状况使得他无法参加。
Wright's main influence was jazz, particularly Miles Davis and John Coltrane.	怀特的主要影响力是爵士乐，特别是迈尔士-戴维斯和约翰-柯川。
He never considered himself a typical songwriter, preferring to create whole albums of music with a theme, later saying "if the words came out like the music, and we didn't have anything else to do, then quite a few would be written".	他从来没有将自己看作是一个典型的作曲家，更喜欢创作整张某一主题的音乐专辑，后来他说“如果说出来的话像音乐，我们就没有其他的事要做，只需要写下来就行”。
A number of compositions credited to Wright came out of improvisation and randomly trying ideas, some of which were picked up enthusiastically by his band mates.	怀特的很多作品来自于即兴创作和随机的想法，有些是他的乐队成员热心发现的。
Wright later said "I just play and don't really think about what I'm doing, I just let it happen".	怀特后来说“我只是在玩，没有细想过我在做什么，顺其自然而已”。
Of all the Pink Floyd members, Wright was the most reserved, sitting down behind the keyboards and concentrating on the music.	在所有平克-弗洛伊德成员中，怀特是最少言寡语的，总是坐在键盘后面专注于音乐。
In the 1970s, Wright listened to some contemporary progressive rock bands, and particularly liked early Peter Gabriel-fronted Genesis.	在 1970 年代，怀特听了一些当代新潮摇滚乐队的演奏，尤其是早期的彼得-盖布维尔面对的 Genesis。
He later asked some of the musicians in Gabriel's solo touring band to play on Broken China.	他后来要求 Gabriel 巡回表演乐队的一些音乐家在 Broken China 演奏。
Wright enjoyed playing the organ, and considered the style he used in Pink Floyd to be unique.	怀特喜欢演奏管风琴，认为他在平克-弗洛伊德采用的风格是独一无二的。
He played solos in the early part of Floyd's career, frequently using Egyptian scales, such as on "Matilda Mother" or "Set the Controls for the Heart of the Sun".	他在弗洛伊德职业生涯早期是独奏，经常使用埃及音阶，例如在“Matilda Mother”或“Set the Controls for the Heart of the Sun”中。
His jazz background led to him being interested in free form music, with adherence to tempo being less important.	爵士乐背景让他对自由形式的音乐感兴趣，在他看来，节奏不那么重要。
Later, he was more interested in complementing each piece with organ, electric piano or synthesizer as a backing instrument, while still featuring occasional solos.	后来，他更有兴趣使用管风琴、电子钢琴或合成器作为支持乐器来补充每个部分，偶尔仍然会独奏。
Production on the episode began on September 14, 2004, and ran through to September 22.	剧集的制作始于 2004 年 9 月 14 日，持续到 9 月 22 日。
The standing sets were used for the first three days of filming.	常备的布景配置用于前三天的拍摄。
Further sets were created to represent the Vulcan Embassy and portions of the Forge.	为呈现 Vulcan Embassy 和 Forge 部分，创建了更多布景配置。
The final two days were filmed on site in Simi Valley in southern California, which doubled as the main areas of the Forge.	最后两天在南加利福尼亚的 Simi 山谷现场拍摄，那里还可以被当作 Forge 的主要区域。
The property used in the valley was owned by mining company P.W. Gillibrand, which was near property owned by Vulcan Materials Company.	山谷中使用地产归矿业公司 P.W. Gillibrand 所有，靠近 Vulcan Materials 公司的地产。
Optical effects were added to represent the firestorm and the sehlat.	为呈现风暴和泰迪熊，加入了光学特效。
The CGI sehlat was based on one which previously appeared in Star Trek: The Animated Series episode "Yesteryear".	CGI 泰迪熊基于以前出现在 Star Trek：动画系列剧集“Yesteryear”中的形象。
Visual effects producer Dan Curry said that the team "looked at the animated series and it just looked nice and pleasant, so I did a couple of sketches to do a reinterpretation of it to make it look scary, but not be too radical a departure from the original".	视觉特效制作人丹-柯瑞说，摄制组“看了这部系列动画片，看起来很漂亮，令人很愉快，于是我做了几幅草图，想将其重新诠释为看起来很可怕的样子，但没有过于偏离原创”。
Eden FX modelled the CGI under supervision by staff visual effects supervisor Art Codron.	Eden FX 的视觉特效主管亚特-柯德龙的监督下做了 CGI 模型。
Additional care was taken to create the fur so that close-ups could be used if required.	在制作皮毛的视觉效果时特别小心，因此在需要时可能会使用镜头特写。
The only physical portion of the sehlat to be created was a single paw. "Yesteryear" was set in the Vulcan city Shi'Khar, which reappears in "The Forge", and it is also the first mention of the area on Vulcan called the Forge.	要制作的泰迪熊唯一的实物部分是一个爪子。“Yesteryear”是在 Vulcan 市 Shi'Khar 拍摄的，在“The Forge”再次出现，它也是 Vulcan 中第一个提到的地区，称之为 Forge。
A further reference was made to "Vulcan's Forge" in the Deep Space Nine episode "Change of Heart".	此外，还参考了 Deep Space Nine 剧集“Change of Heart”中的“Vulcan's Forge”。
"The Forge" and the following two episodes make reference to a time of savagery in Vulcan history known as the "Time of Awakening".	“The Forge”和随后的两个剧集参考了 Vulcan 历史上称为“觉醒时代”的原始时期。
This had been previously mentioned in the original series episodes "Balance of Terror", "All Our Yesterdays", and "The Savage Curtain", as well as The Next Generation episode "Gambit".	这之前在原始系列剧集“Balance of Terror”、“All Our Yesterdays”和“The Savage Curtain”以及 The Next Generation 剧集“Gambit”中提到过。
The story mentioned the Vulcan T'Pau, who had previously appeared in The Original Series episode "Amok Time" presiding over the fight between Kirk and Spock, with the elder T'Pau portrayed by Celia Lovsky. Michael Reilly Burke returns as Koss, having previously appeared in the role in the season-four episode "Home".	故事提到了 Vulcan T'Pau，他之前也在原创系列剧集“Amok Time”中出现过，主持柯克与斯波克之间的战斗，还有西利亚-洛夫斯基描绘的长者 T'Pau。Michael Reilly Burke 作为 Koss 回来，之前出现在第四季剧集“Home”中。
Robert Foxworth appears as Administrator V'Las, having previously appeared as Admiral Leyton in the Deep Space Nine episodes "Homefront" and "Paradise Lost".	罗伯特-福克沃斯作为管理员 V'Las 出现，之前在 Deep Space Nine 剧集“Homefront”和“Paradise Lost”中是作为 Admiral Leyton 出现的。
Husband and wife duo Judith and Garfield Reeves-Stevens had previously written a number of Star Trek-related novels and books, including a series of collaborations with William Shatner and the novel Federation.	犹迪和加菲尔德-里夫斯-史蒂芬斯夫妻二人以前写过很多 Star Trek 相关的小说和书籍，包括与威廉-夏特纳的一系列合作以及小说 Federation。
They had also written several nonfiction books on the behind-the-scenes productions of the Star Trek series such as Star Trek: Phase II - The Lost Series and Star Trek: The Next Generation - The Continuing Mission.	他们还写了几本非小说类图书，讲述了 Star Trek 系列制作幕后的故事，例如 Star Trek：Phase II - The Lost Series 和 Star Trek：The Next Generation - The Continuing Mission。
"The Forge" was their first script together for a Star Trek series, but they had previously written scripts for other shows, including Sir Arthur Conan Doyle's The Lost World and Once a Thief.	“The Forge”是他们第一个共同为 Star Trek 系列创作的剧本，但他们之前也为其他电影写过剧本，其中包括 Sir Arthur Conan Doyle 的 The Lost World 和 Once a Thief。
They joined the Enterprise writing team shortly before working on the story for this episode which formed the first part of a planned "Vulcan arc".	他们加入了 Enterprise 写作团队，不久创作了这个剧集的故事，成为计划的“Vulcan arc”的第一部分。
After reading an article about the iLoo, Andrew Cubitt, inventor of the similarly named i-Loo, wrote to The Inquirer stating that iLoo "sounds remarkably similar ... it now seems that the clever people at Microsoft have cottoned onto the idea and even call it the i-Loo, the same as mine!" Cubitt went on to say that "mine did everything that the Microsoft one is meant to do, but additionally printed information on toilet paper and didn't use a keyboard for the interface due to hygiene reasons".	在阅读一篇关于 iLoo 的文章后，i-Loo 的发明者 Andrew Cubitt 写信给《问询报》，称 iLoo“听起来非常相似... 现在看来，微软的聪明人已经接受了这个想法，甚至把它叫做 i-Loo，和我的叫法一样！”Cubitt 接着说到：“我的 i-Loo 做了微软所要做的一切，但对于另外在卫生纸上打印信息这件事，出于卫生原因，没有使用键盘作为界面。”
The i-Loo was prototyped by Cubitt as part of his thesis for his 2001 university degree in Product Design and Engineering at Brunel University.	i-Loo 的原型设计由 Cubitt 完成，这是他 2001 年在布鲁内尔大学产品设计和工程专业的大学毕业论文的一部分。
In an interview with The Inquirer, he noted "As it was designed at the university, they own the partial rights to the product so they will be watching the Microsoft 'invention' very closely."	在接受《问询报》采访时，他指出：“由于它是在大学里设计的，他们拥有这个产品的部分权利，因此他们将密切关注微软的‘发明’。”
Microsoft never formally commented on Cubitt's allegations and instead initially stated the iLoo was an April's fool joke.	微软从未对 Cubitt 的指控作出正式评论，而是最初表示 iLoo 是一个四月的愚人节玩笑。
As a result, Cubitt questioned whether this was "a very calculated ploy to destroy competition in its early stages, or is admitting they don't even know what time of the month it is less embarrassing and ridding them of a potentially expensive situation!" Cubitt went on to state that "as they have now discredited my idea as a joke, I will never be able to produce the idea" and as such was "consulting my law books now on defamatory statements".	因此，Cubitt 质疑这是否是“一个精心策划的计策，目的是在早期阶段破坏竞争，还是承认他们甚至不知道现在是哪个月的哪一天，这样就不会如此尴尬了，而且还能让他们摆脱可能产生巨大成本的局面！”Cubitt 接着说：“因为他们现在已经把我的想法当作一个笑话来加以诋毁，我将永远无法产生这个想法”，因此，“我正在查阅关于诽谤性声明的法律书籍”。
Neither Cubitt, nor Brunel University have taken public legal action against Microsoft pertaining to the i-Loo.	无论是 Cubitt 还是布鲁内尔大学，都没有对微软采取与 i-Loo 有关的公开法律行动。
The i-Loo was described as:	i-Loo 的描述是：
The i-Loo internet toilet roll browser is a novel and unique product designed to make best use of the time you spend on the loo!	i-Loo 互联网卫生纸浏览器是一款新颖而独特的产品，其设计理念是充分利用您在厕所里的时间！
The product allows you to search the internet whilst sitting on the toilet and print out any web pages you are interested in on your toilet paper.	这款产品可让您坐在马桶上搜索互联网，并在卫生纸上打印出您感兴趣的任何网页。
i-Loo brings a whole new meaning to the word downloading.	i-Loo 给下载这个词赋予了全新的含义。
The unit is fixed in front of a toilet on the cubical [sic] wall.	这个装置固定在厕所前面隔间 [原文如此] 的墙上。
The product provides up to date information about new products, daily news and lottery results through an easy to navigate software package.	该产品通过一个易于浏览的软件包提供有关新产品、每日新闻和彩票结果的最新信息。
Normal operation of the toilet and paper dispenser is evident.	显而易见的是，马桶和出纸器可以正常运行。
The i-Loo internet toilet roll browser was featured at the 2003 Daily Mail Ideal Home Show as part of the Future Concepts exhibition in Earls Court, London, where it was nominated for the MFI Bright Sparks 2003 awards.	作为伦敦伯爵宫未来概念展的一部分，i-Loo 互联网卫生纸浏览器在 2003 年的《每日邮报》理想家居展上亮相，并且获得 2003 年的 MFI Bright Sparks 大奖提名。
The i-Loo, which was sponsored by Epson Printers, received significant press coverage, and was featured on GMTV as well as various radio shows.	由 Epson 打印机赞助的 i-Loo 收获了大量媒体报道，并被 GMTV 以及各种广播节目广泛报道。
His daughter Lidya Steinhaus was married to Jan Kott.	他的女儿丽迪雅·斯坦豪斯嫁给了扬·科特。
On November 1, 2017, a controversy arose as the University of Wrocław took no action to pay for his grave to keep it until 2022 in face of its expiration because it supposedly "had no money".	2017 年 11 月 1 日，弗罗茨瓦夫大学没有采取行动为他的坟墓付钱以便使其保留到 2022 年，这引发了一场争议，因为据称它“没有钱”。
Mayor Rafał Dutkiewicz was also widely criticized for doing nothing.	市长 Rafał Dutkiewicz 也因无所作为而受到广泛批评。
Random people organized a charity and paid for the grave to remain.	一些陌生人组建了一个慈善机构，为保留坟墓支付了相应的费用。
Born in Forbes, New South Wales, on 27 February 1903, Lester Brain was the second son of an English mining engineer and manager, Austin Brain, and his Australian wife, Katie.	莱斯特·布瑞恩于 1903 年 2 月 27 日出生在新南威尔士州的福布斯，他是英国采矿工程师兼经理奥斯汀·布瑞恩和他的澳大利亚妻子凯蒂的次子。
Originally from Gloucestershire, Austin had emigrated with his parents and siblings in 1885, prospecting for gold in the United States before settling in Australia.	奥斯汀来自格洛斯特郡，1885 年与父母和兄弟姐妹移民美国开始勘探黄金，之后在澳大利亚定居。
By the age of thirteen, Lester owned his own motorcycle bought secondhand for £11; its poor condition and constant need for repair helped him become mechanically adept at an early age.	在十三岁的时候，莱斯特花 11 英镑买了一辆二手摩托车；这辆摩托车的糟糕状况和不断的维修需求让他在很小的时候就成为了机械高手。
He completed his education at Sydney Grammar School, where he excelled in maths, before being employed by the Commercial Banking Company of Sydney (CBC) in 1919.	他在悉尼文法学校完成学业，数学成绩优异，随后于 1919 年入职悉尼商业银行 (CBC)。
Brain's penchant for motorbikes and things mechanical inspired a lift driver at CBC to suggest he apply for pilot training in the recently formed Royal Australian Air Force (RAAF).	布瑞恩对摩托车和机械设备的爱好启发了 CBC 的一名电梯司机，这位司机建议他申请参加最近成立的澳大利亚皇家空军 (RAAF) 的飞行员训练。
He was among five civilian students nominated by the Civil Aviation Branch (CAB) of the Defence Department for entry into the inaugural RAAF flying training course, which commenced at Point Cook, Victoria in January 1923.	他是国防部民航部门 (CAB) 提名的 5 名平民学生之一，参加了 RAAF 的首次飞行训练课程，这门课程于 1923 年 1 月在维多利亚库克角开始。
The benefit of these nominations from a military perspective was that although the destiny of the CAB-sponsored students was to be civil aviators, they would also be members of the RAAF reserve, known as the Citizen Air Force (CAF), and could therefore be called up for active service as and when necessary.	从军事角度看，这些提名的好处在于，尽管 CAB 资助的学生的命运是成为民用飞行员，但他们也是 RAAF 的预备队成员，被称为公民空军 (CAF)，因此在必要时可以被征召服役。
Brain's fellow attendees included Royal Australian Navy lieutenants Joe Hewitt and Ellis Wackett, and Australian Army lieutenant Frank Bladin, all of whom were seconded—and later permanently transferred—to the RAAF.	布瑞恩的同学包括澳大利亚皇家海军中尉乔·休伊特和埃利斯·瓦克特，以及澳大利亚陆军中尉弗兰克·布莱丁，他们都曾被借调到 RAAF，后来则被永久调任。
Brain graduated at the top of his class after the year-long training course at Point Cook, and was duly commissioned in the CAF.	在库克角接受了一年的训练课程后，布瑞恩以全班第一名的成绩毕业，并在 CAF 获得正式任命。
Moving to Queensland in April 1924, he took up employment as a pilot with Queensland and Northern Territory Aerial Services (Qantas), its first aviator without a war record.	1924 年 4 月，他来到昆士兰，在昆士兰和北领地航空服务公司 (Qantas) 担任飞行员，这是该公司第一位没有战争记录的飞行员。
On 7 February 1925, he flew the first scheduled passenger service from Cloncurry to Camooweal, extending the airline's founding 580-mile (930 km) route—from Charleville to Cloncurry—by 284 miles (457 km).	1925 年 2 月 7 日，他首次从克朗克里飞往卡穆威尔，将这家航空公司创立时的 580 英里（930 公里）航线（从查尔维尔到克朗克里）延长了 284 英里（457 公里）。
The following year, he completed a refresher course at Central Flying School, Point Cook.	第二年，他在库克角的中央飞行学校完成了进修课程。
On a rain-soaked McKinlay airfield near Cloncurry on 27 February 1927, he flipped Qantas' first de Havilland DH.50 on to its back while attempting take-off, though he managed to escape without injury.	1927 年 2 月 27 日，在克朗克里附近一个被雨水浸透的麦金利机场，他在尝试起飞时将澳洲航空公司的第一架 De Havilland DH.50 型飞机翻转了 180°，不过他最终成功逃脱，没有受伤。
Qantas founder Hudson Fysh berated him for a "serious error of judgement", but noted his excellent three-year record as a pilot; the aircraft was soon repaired and operational again.	澳洲航空公司创始人哈德逊·费什斥责他“判断严重失误”，但注意到他三年来作为飞行员的出色记录；这架飞机很快就被修好并重新投入使用。
The next month, Brain became Chief Instructor at the Qantas Flying School in Brisbane, doubling as manager of the airline's local office.	接下来的一个月，布瑞恩成为澳洲航空公司布里斯班飞行学校的首席讲师，兼任该航空公司当地办公室的经理。
By mid-1928, he had overworked himself to the extent that he was ordered to take respite by Fysh; this "respite" nevertheless involved a 13-week trip to England to study aviation developments.	1928 年中期，他工作劳累过度，费什命令他休息一下；然而，这次“休息”却带来了一次为期 13 周的英国航空发展研究之旅。
In April 1929, Brain was selected to take part in a search for lost aviators in northern Australia, having gained experience of the area while flying over the Tanami Desert to assist a gold prospecting expedition some years earlier.	1929 年 4 月，布莱恩被选中参加在澳大利亚北部寻找失踪飞行员的行动。几年前，他在飞越塔纳米沙漠协助一支淘金探险队时，获得了与该地区相关的经验。  
On 20 April, he took Qantas DH.50 Atalanta from Brisbane to link up with RAAF Airco DH.9s under the command of Flight Lieutenant Charles Eaton at Tennant Creek, to look for Keith Anderson and Robert Hitchcock in their Westland Widgeon the Kookaburra.	4 月 20 日，他从布里斯班乘坐澳洲航空公司亚特兰大 DH.50 型飞机，在滕南特克里克与 RAAF Airco DH.9s 型飞机汇合，由空军上尉查尔斯·伊顿指挥，去寻找驾驶 Westland Widgeon 型飞机（笑翠鸟号）的飞行员基思·安德森和罗伯特·希区柯克。
The pair had disappeared while searching for Charles Kingsford Smith and Charles Ulm, who had been reported missing on a record attempt from Sydney to England in the Southern Cross.	这对夫妇是在寻找查尔斯·金斯福德·史密斯和查尔斯·乌尔姆时失踪的，根据报告，他们在失踪前曾驾驶南十字星号从悉尼飞往到英国，试图创造一个纪录。 
Brain located the Kookaburra the next day in the Tanami Desert, approximately 130 kilometres (81 mi) east-south-east of Wave Hill.	第二天，布瑞恩在塔纳米沙漠里找到了笑翠鸟号，具体位于韦夫希尔东南偏东约 130 公里（81 英里）处。
Galadriel was originally named Artanis (Q. 'ar'=noble, 'nis'=woman, a name common to royal women of the Elves, most prominently as in the form Arwen, Galadriel's granddaughter), and Nerwen (Q. 'ner'=man, 'wen'=maiden, hence manly maiden), referring to her height and strength; Galadriel is the Sindarinized version of Telerin Quenya Alatáriel (Q. 'alatá'=radiance, 'riel'=maiden crowned with a garland), a name given her by Celeborn, referring to her silver-golden hair.	凯兰崔尔的原名是阿塔尼斯（Q. 'ar'=高贵，'nis'=女人，这是一个精灵中王室女性的常见名字，最著名的是凯兰崔尔的孙女亚玟）和诺玟（Q. 'ner'=男人，'wen'=少女，因此意思是有男子气概的少女)，指的是她的身高和力量；凯兰崔尔是 Telerin Quenya Alatáriel 的辛达林版本（Q. 'alatá'=光辉，'riel'=戴着花环的少女），这是凯勒鹏给她取的名字，指的是她那银金色的头发。
The name Galadhriel (S. 'galadh'=tree, 'riel'=crowned maiden) was used outside Lórien by the people who did not know the ancient days and Galadriel's history, confusing galad with the Sindarin word galadh and the name of the Galadhrim, the people of Lórien.	在洛立安外面，不了解古代和凯兰崔尔历史的人使用凯兰崔尔（S. 'galadh'=树，'riel'=戴皇冠的少女）这个名字，他们把加拉德 (Galad) 和辛达林语的 galadh 以及洛立安人凯兰崔尔的名字搞混了。
As the ruler of Lothlórien, she was referred to by a variety of titles, including "Lady of Lórien", "Lady of the Wood", and (by Gimli) "Queen Galadriel"—although, according to Tolkien's account in Unfinished Tales, neither she nor Celeborn took royal titles themselves, as they considered themselves merely guardians of Lórien.	作为罗斯洛立安的统治者，她被冠以各种各样的头衔，包括“洛立安的夫人”、“丛林夫人”和“凯兰崔尔女王”（被金利这样称呼）— 尽管根据托尔金在《未完成的故事》中的描述，她和凯勒鹏都没有获得皇室头衔，因为他们认为自己只是洛立安的守护者。
She was also referred to as "Lady of Light" (the translation of Galadriel) or as the "White Lady", as her fair skin and white cloaks made her seem to shine.	她也被称为“光之女神”或“白夫人”，因为她白皙的皮肤和白色的斗篷让她看起来熠熠生辉。
It was said (by the Dúnedain) that her height was two rangar (Quenya: 'strides'), or "man-high" – about 6 ft. 4 in., or 193 cm.	据登丹人说，她的身高是 2 rangar（昆雅语：“步幅”），或者“男人的身高”– 大约 6 英尺 4 英寸或 193 公分。
However, Galadriel's most striking feature is her beautiful long silver-golden hair.	然而，凯兰崔尔最引人注目的特征是她那美丽的银金色长发。
The Elves of Tirion said it captured the radiance of the Two Trees Laurelin and Telperion themselves.	提理安的精灵们说，它捕捉到了双圣树罗瑞林和泰尔佩瑞安本身的光芒。
Even among the Eldar she was accounted beautiful, and her hair is held a marvel unmatched.	即使在精灵中，她也是公认的美人，她的头发也被视为无与伦比的奇迹。
It is golden like the hair of her father and of her foremother Indis, but richer and more radiant, for its gold is touched by some memory of the starlike silver of her mother; and the Eldar say that the light of the Two Trees, Laurelin and Telperion, has been snared in her tresses.	她的头发是金色的，就像她父亲和她的祖先茵迪丝的头发一样，但更丰润、更有光泽，因为她的金色被她母亲星银般的记忆所触动；精灵们说，双圣树罗瑞林和泰尔佩瑞安的光芒已经被她的发丝捕捉。
It was greatly admired by Fëanor and may have inspired him to create the Silmarilli.	这受到了费诺的极度推崇，也许正是它激发了他创作“精灵宝钻”的灵感。
Many thought that this saying first gave to Fëanor the thought of imprisoning and blending the light of the Trees that later took shape in his hands as the Silmarils.	许多人认为，这句话首先给了费诺禁锢和融合圣树之光的想法，后来才经由他手打造成“精灵宝钻”。
For Fëanor beheld the hair of Galadriel with wonder and delight.	因为费诺看到凯兰崔尔的头发时又惊奇又高兴。
Nevertheless, she never repaid Fëanor's admiration with the generosity she showed to Gimli the Dwarf in The Fellowship of the Ring.	然而，她从未像《指环王》中对矮人金利那样慷慨地回报过费诺的钦佩之情。
Fëanor "had begged her thrice for a tress and thrice she refused to give him even one hair.	费诺曾三次求她给他一根头发，但她三次都拒绝给他哪怕一根头发。
It is said that these two kinsfolk, being considered the greatest of the Eldar of Valinor, remain unfriends forever."	据说这两个亲属被认为是维林诺最伟大的精灵，永远是朋友。”
Her character was similarly a blend of characteristics of the kindreds of the Eldar from whom she was descended.	同样，她的性格也融合了她的祖先精灵族的特点。
She had the pride and ambition of the Noldor, but in her they were tempered by the gentleness and insight of the Vanyar.	她有诺多族的骄傲和野心，但在她身上，这些却被梵雅族的温柔和洞察力所调和。
She shared the latter virtues of character with her father Finarfin and her brother Finrod.	她与她的父亲费纳芬和哥哥芬罗德都有着同样的品格美德。
She was proud, strong, and self-willed, as were all the descendants of Finwë save Finarfin; and like her brother Finrod, of all her kin the nearest to her heart, she had dreams of far lands and dominions that might be her own to order as she would without tutelage.	她骄傲、坚强、倔强，就像芬威的所有后裔一样，除了费纳芬；在她的所有亲人中，她的哥哥芬罗德离她的心最近，她也梦想着可以拥有自己的遥远土地和领土，不受任何人的监管。
Yet deeper still there dwelt in her the noble and generous spirit of the Vanyar, and a reverence for the Valar that she could not forget.	然而，在她的内心深处，却深藏着梵雅族高贵而慷慨的精神，她对梵雅族怀有一种无法忘怀的崇敬之情。
Kepler-10b's discovery excited astronomers, who hoped to use data about it to inquire into the formation and structure that terrestrial, Earth-size planets tend to have in common.	开普勒-10b 的发现让天文学家们兴奋不已，他们希望利用有关它的数据来探究类地行星和地球般大小的行星的形成和结构。
Geoff Marcy of the University of California at Berkeley said that the discovery was ranked "as among the most profound scientific discoveries in human history," and that the planet "will go into every textbook worldwide." Marcy also described Kepler-10b as "a bridge between the gas giant planets we've been finding and the Earth itself." Diana Valencia at the University of Côte d'Azur in Nice, France considered the planet more of a "super-Mercury" than a super-Earth, granted its physical characteristics.	加州大学伯克利分校的杰弗里·马西说，这一发现被列为“人类历史上影响最深远的科学发现之一”，这个星球“将进入全世界的每一本教科书”。马西还将开普勒-10b 描述为“我们一直在寻找的气态巨行星和地球自身之间的桥梁”。法国尼斯蔚蓝海岸大学的戴安娜·瓦伦西亚认为，根据其物理特性判断，这颗行星更像一颗“超级水星”，而不是一颗“超级地球”。
Kepler-10b is most noted for its rocky surface.	开普勒-10b 最引人注目的是其岩石表面。
It has a diameter 1.4 times that of the Earth, and a mass of 3.33±0.49 times that of Earth.	它的直径是地球的 1.4 倍，质量是地球的 3.33±0.49 倍。
The density of Kepler-10b is 5.8±0.8 g cm⁻³.	开普勒-10b 的密度为 5.8±0.8g cm-³。
It orbits its star, Kepler-10, in less than a day, at less than a twentieth of the distance from Mercury to the Sun.	它围绕其恒星开普勒-10 公转的时间不到一天，与母星的距离不到水星与太阳距离的二十分之一。
Its surface temperature on the star lit side is approximately 1833 K, which is as hot as a blast furnace and hot enough to melt iron.	它被恒星照射一侧的表面温度约为 1833 K，相当于高炉的温度，热到足以熔化铁。
Though CoRoT-7b was discovered before Kepler-10b and has been claimed to be rocky, there is more room for other interpretations in the case of CoRoT-7b's composition than there is for Kepler-10b.	尽管 CoRoT-7b 是在开普勒-10b 之前被发现的，并且一直被认为是岩石，但与开普勒-10b 相比，CoRoT-7b 的成分有更大的空间可以做出其他解释。
This is due to the much larger uncertainty in CoRoT-7b's mass (and, to a lesser extent, its radius) which is illustrated in the plot to the left.	这是由于 CoRoT-7b 的质量（在较小程度上，其半径）有着更大的不确定性，如左图所示。
Consequently, CoRoT-7b may be revealed to be a lava-ocean planet, whereas Kepler-10b must be predominantly made of rock or iron.	因此，CoRoT-7b 可能被发现是一颗熔岩-海洋行星，而开普勒-10b 的成分必定主要是岩石或铁。
In addition to showing the range of masses and radii consistent with the observations of each planet, the plot includes curves of compositions implied by certain masses and radii.	除了显示与观测结果一致的质量和半径范围外，这张图还包括由某些质量和半径所暗示的成分曲线。
Kepler-10b is tidally locked to its parent star and has extreme variations in temperature between day and night sides.	开普勒-10b 被潮汐力锁定到它的母星，其昼夜两侧的温度变化非常大。
It also reflects about half of the starlight it receives.	它还反射大约一半接收到的星光。
The writer for this episode, David A.	本集编剧：大卫·A。
Goodman, said that making this episode was a "dream come true" for many members of the crew including himself.	古德曼说，拍摄这一集对包括他自己在内的许多剧组成员来说是“梦想成真”。
At the time he was hired onto the staff, they were already talking about creating a Star Trek-centric episode.	在他加入剧组之时，他们已经在讨论打造一个以《星际迷航》为中心的剧集了。
The initial idea was to have a giant Kirk and Spock fighting over New York-New York Hotel and Casino.	最初的想法是让巨大的柯克和斯波克争夺纽约纽约赌场酒店。
Executive producer David X.	执行制片人：大卫·X。
Cohen assigned the writing task to Goodman, as they agreed he was the biggest Trek fan of the group.	科恩把编剧任务交给了古德曼，因为他们一致认为他是这群人中最忠实的《星际迷航》粉丝。
They agreed to drop the story idea with the giant characters and gave him two weeks to write the script.	他们同意放弃巨人角色的故事构思，并给他两周时间来写剧本。
The deadline was complicated as Goodman had to spend the first week on jury duty, and then broke his ankle.	最后期限相当紧张，因为古德曼不得不在第一周内履行陪审员职责，然后又摔断了脚踝。
Despite this, he described "Where No Fan Has Gone Before" as the most fun he has ever had writing a script.	尽管如此，他说《没有粉丝去过的地方》是他写剧本以来最有趣的一次。
Series creator Matt Groening stated that while he is a fan of the Star Trek franchise, he has never seen an episode of The Original Series in its entirety, but has seen Star Trek: The Motion Picture.	该剧制片人马特·格勒宁表示，虽然他是《星际迷航》系列的粉丝，但他从来没有完整看过《星际迷航：原初系列》，但看过《星际迷航电影版》。
Director Pat Shinagawa said that there was a certain amount of jealousy among the crew that she got to work on the episode.	导演帕特品川表示，在她参与拍摄这一集的工作人员之间存在一定程度的嫉妒。
All of the living members of the original Star Trek cast agreed to appear in the episode with the exception of James Doohan, whose agent replied with "No way." Because of this, the episode's working title was jokingly named "We got everybody but Scotty" and so Scotty was replaced with "Welshie".	《星际迷航》中所有在世的演员都同意出演这一集，但詹姆斯·杜汉除外，他的经纪人回答说“不可能”。正因如此，这一集的暂定名称被戏称为“除了史考提，我们谁都有”，所以史考提被换成了“威尔士人”。
DeForest Kelley was physically portrayed but had no lines due to his death in 1999. William Shatner and Leonard Nimoy recorded their lines together, which was unusual as actors usually record solo.	德福雷斯特·凯利亲自出演，但由于他已在 1999 年去世，因此没有任何台词。威廉·夏特纳和伦纳德·尼莫伊一起录制了他们的台词，这很不寻常，因为演员通常会单独录制。
Following his work on Futurama, Goodman went on to join the writing staff on Star Trek: Enterprise.	在完成《飞出个未来》的拍摄之后，古德曼加入了《星际迷航：企业号》的编剧团队。
A number of designs for the energy being were considered for this episode; however, the final version was decided upon due to a desire to keep the design simple.	这一集考虑了许多关于能量存在的设计；然而，由于希望保持设计的简单性，因此决定采用这个最终版本。
Shinagawa noted that even so, the final design for Melllvar is more sophisticated than some energy beings featured in the original series.	品川指出，即便如此，Melllvar 的最终设计也比原版系列中的一些能量生物更加复杂。
This episode contains many story elements based on episodes of Star Trek.	这一集包含许多基于《星际迷航》剧集的故事元素。
In the DVD audio commentary, Goodman noted his pride in having included a large number of quotations from The Original Series, particularly those items which he claims "the people on the internet" had not found on their own.	在 DVD 音频评论中，古德曼指出，他对收录了大量来自《原初系列》的语录感到自豪，特别是那些他称为“互联网上的人”自己找不到的内容。
He noted that in "Shatner's Log", based on Star Trek's "Captain's log", the line "The impossible has happened" quotes the opening log in "Where No Man Has Gone Before".	他指出，在根据《星际迷航》的《船长日志》改编的《夏特纳的日志》中，“不可能的事情发生了”这句话引用了“前人所未至的领域”的开篇日志。
Although the episode was not the last episode produced for season four, it was used as the season finale for the fourth broadcast season, being broadcast on April 21, 2002, on Fox in the United States.	虽然这一集不是第四季的最后一集，但在美国福克斯电视台于 2002 年 4 月 21 日播出时，它被用作第四季的大结局。
After returning from the United States after the launch of her debut studio album The Family Jewels (2010), Diamandis considered creating a character which would become the centerpiece of her follow-up project.	迪曼蒂斯在 2010 年推出了首张录音室专辑《The Family Jewels》，从美国返回后，她考虑创造一个将成为她后续项目核心的角色。
She commented that she was inspired by the "Tumblr generation" to photograph herself in several places across the United States, appearing as a different persona in each picture to mimick the anonymity of the "mini-stars of the internet".	她评论说，受“Tumblr 一代”的启发，她在美国各地拍摄了自己的照片，在每张照片中都以不同的身份出现，以模仿“互联网上的小小明星”的匿名身份。
The final product became "a cold, ruthless character who wasn't vulnerable", which she later named "Electra Heart" and detailed as a tool to represent a combination of elements associated with the American Dream and Greek tragedy, and added that visuals would merge the differing concepts into a cohesive idea.	最终的作品变成了“一个冷酷无情的角色，但并不脆弱”，她后来将其命名为“Electra Heart”，并详细解释这是一个代表与美国梦和希腊悲剧相关的元素组合的工具，此外她还补充说，视觉效果会将不同的概念合并成一个完整的想法。
Diamandis first announced Electra Heart in August 2011; it was initially planned to become a three-piece project inspired by American culture in the 1970s, although it eventually evolved into her second studio album.	2011 年 8 月迪曼蒂斯首次宣布推出《Electra Heart》；受 20 世纪 70 年代美国文化的启发，这首歌最初计划制作成三首歌，但最终演变成她的第二张录音室专辑。
Diamandis originally planned to release the record as a "side project" under an entity separate from Marina and the Diamonds, although her management disapproved.	迪曼蒂斯原本计划将这张专辑作为一个独立于 Marina And The Diamonds 的“副业项目”来发行，尽管她的管理层不同意这样做。
The track "Living Dead" was the first recorded during its production, and approximately 22 songs were recorded for potential inclusion on the album.	《活死人》是在其制作过程中录制的第一首歌曲，最后录制了大约 22 首有可能被收录到专辑中的歌曲。
She later commented that the record was dedicated to "dysfunctional love", elaborating that "rejection is a universally embarrassing topic and Electra Heart is my response to that." Diamandis stated that Electra Heart was influenced by Madonna, Marilyn Monroe, and Queen of France Marie Antoinette; she described Madonna as being "fearless" and felt that she showcased a desire to be a successful artist beyond fame and wealth.	她后来评论说，这张专辑是献给“不正常的爱”的，并解释说“被拒绝是一个普遍令人尴尬的话题，《Electra Heart》是我对此的回应。”迪曼蒂斯表示，《Electra Heart》受到了麦当娜、玛丽莲·梦露和法国王后玛丽·安托瓦内特的影响；她形容麦当娜“无所畏惧”，并认为她展现了一种成为超越名利的成功艺术家的愿望。
Diamandis told Glamour that Britney Spears influenced a "double-sided" theme for the record of both "innocence" and "darkness".	迪曼蒂斯告诉《Glamour》杂志，布兰妮·斯皮尔斯影响了同时记录“纯真”和“黑暗”的“双面”主题。
She described the final product as being "a bit cringe" and reflective of her personal experiences, although noted that its promotional campaign would be "pink and fluffy".	她形容最终作品“有点令人生厌”，这是她个人经历的反映，尽管她指出其宣传活动将是“粉红色和蓬松的”。
On 1 March, Diamandis unveiled the album artwork for the standard version of Electra Heart, which depicts a blonde Diamandis wearing several hair rollers.	3 月 1 日，迪曼蒂斯公布了《Electra Heart》标准版的专辑封面，画面上是金发的迪曼蒂斯戴着几个卷发器。
The singer later revealed that because of the dye, her hair started to fall out, so she got a boy's haircut and wore a wig.	这位歌手后来透露，因为染发，她的头发开始脱落，所以她剪了一个男孩的发型，戴了一顶假发。
Becky Bain from Idolator complimented its "retro film stock look" and opined that it "is just a snapshot from some 1970s exploitation movie", while Bradley Stern from MuuMuse jokingly referenced the album track "Homewrecker" when stating that she "looks like a proper Suzy Homemaker! (Or should I say Suzy Homewrecker?)" The artwork for the deluxe version features the same picture of Diamandis, although it is tinted purple.	来自 Idolator 的贝基·贝恩称赞它拥有“复古电影胶片的外观”，并认为它“只是 20 世纪 70 年代某部剥削电影的快照”，而来自 MuuMuse 的布拉德利·斯特恩则开玩笑地提到了专辑中的歌曲《Homewrecker》，说她“看起来像一个真正的家庭主妇苏西！”（或者我应该说第三者苏西？）”豪华版的插图拥有同样的迪曼蒂斯图片，尽管它呈现出紫色。
The track listing for the standard version was confirmed on 1 March, while the track listing for the deluxe version was announced on 5 March.	标准版的曲目列表在 3 月 1 日确认，而豪华版的曲目列表则在 3 月 5 日公布。
A limited edition box set of Electra Heart contained the deluxe version of the record, four photo art cards, a ring, perspex, necklace, and pocket mirror.	一套限量版的盒装《Electra Heart》包含豪华版唱片、四张照片艺术卡、一枚戒指、有机玻璃、项链和化妆镜。
Diamandis released 11 music videos through YouTube during the promotional campaign for Electra Heart.	在宣传《Electra Heart》期间，迪曼蒂斯在 YouTube 上发布了 11 个音乐视频。
She claimed that their production led her record label into bankruptcy, but stated that they would be released and "finish this era the way I want to." The first, titled "Part 1: Fear and Loathing", was released on 8 August 2011, and sees Diamandis cutting her long brown hair and singing the track on a balcony during the nighttime.	虽然她声称它们的制作导致她的唱片公司破产，但她表示，它们一定会发行，并“以我想要的方式结束这个时代。”第一张专辑名为《Part 1: Fear and Loathing》，于 2011 年 8 月 8 日发行，可以看到，迪曼蒂斯剪掉了她的棕色长发，在夜晚的阳台边唱着这首歌。
It was followed by "Part 2: Radioactive" on 22 August, which depicts a blonde-wigged Diamandis travelling across the United States with her romantic interest.	接下来是 8 月 22 日推出的《Part 2: Radioactive》，描绘了戴着金色假发的迪曼蒂斯与她的恋人一起穿越美国的故事。
The track was released through the iTunes Store on 23 September, and peaked at number 25 on the UK Singles Chart on 15 October.	这首歌于 9 月 23 日通过 iTunes Store 发布，并于 10 月 15 日登上英国单曲排行榜的第 25 位。
The black-and-white clip "Part 3: The Archetypes" shows the close-up of a blonde Diamandis while the introduction of "The State of Dreaming" is played; it introduced the archetypes "housewife", "beauty queen", "homewrecker", and "idle teen" on 15 December.	黑白剪辑《Part 3: The Archetypes》在播放“The State of Dreaming”的介绍同时展示了金发迪曼蒂斯的特写镜头；它于 12 月 15 日介绍了“家庭主妇”、“选美皇后”、“家庭破坏者”和“游子少年”的原型。
"Part 4: Primadonna" served as the music video for the lead single from the record on 12 March 2012.	《Part 4: Primadonna》作为 2012 年 3 月 12 日所发行唱片的主打单曲的音乐短片。  
Marjorie Heins is an attorney with a focus on civil liberties.	马乔里·海因斯是一名关注公民自由的律师。
She received her Bachelor of Arts degree from Cornell University in 1967.	她于 1967 年获得康奈尔大学文学学士学位。
Heins graduated from Harvard Law School with a magna cum laude distinction, receiving her juris doctor degree in 1978.	海因斯以优异的成绩毕业于哈佛大学法学院，于 1978 年获得法学博士学位。
At the time of the book's publication in 1993, Heins served as the founding director and chief lawyer for the Arts Censorship Project.	在这本书 1993 年出版时，海因斯担任艺术审查项目的创始董事和首席律师。
The project was formed as a division of the American Civil Liberties Union in 1991 during societal conflict in the U.S. over attempts to decrease financing for the National Endowment for the Arts, and to censor the musicians 2 Live Crew.	该项目于 1991 年作为美国公民自由联盟的一个分支成立，当时美国因试图减少对国家艺术基金会的资助和以及审查音乐组合 2 Live Crew 而发生社会冲突。
In 2000, Heins became the founding director of the Free Expression Policy Project at the National Coalition Against Censorship.	2000 年，海因斯成为全国反审查联盟言论自由政策项目的创办负责人。
Her published books prior to Sex, Sin, and Blasphemy include: Strictly Ghetto Property: The Story of Los Siete de la Raza (1972), and Cutting the Mustard: Affirmative Action and the Nature of Excellence (1987).	在《性、罪恶和亵渎》之前，她出版的书籍包括：《严格意义的的贫民区财产：Los Siete de la Raza 的故事》（1972 年）和《符合标准：平权行动和卓越的本质》（1987 年）。
Subsequent to the publication of Sex, Sin, and Blasphemy, Heins wrote Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth in 2001, which received the 2002 Eli M.	在出版《性、罪恶和亵渎》之后，海因斯又在 2001 年编写了《不要在孩子面前：猥亵、审查和少年的纯真》，该书于 2002 年获得了
Oboler Award from the American Library Association; and Priests of Our Democracy: The Supreme Court, Academic Freedom, and the Anti-Communist Purge in 2013, which received the Hugh M. Hefner First Amendment Award.	美国图书馆协会颁发的 Eli M. Oboler 奖；另外，她还编写了《我们民主的牧师：最高法院、学术自由和反共清洗》，该书于 2013 年获得了休·海夫纳第一修正案奖。
Sex, Sin, and Blasphemy: A Guide to America's Censorship Wars was first published in 1993 by The New Press.	《性、罪恶和亵渎：美国审查制度战争指南》于 1993 年由 The New Press 首次出版。
The book was re-published by The New Press in 1998.	这本书于 1998 年由 The New Press 再版。
It's stated that in September 1993, "Heins was the featured speaker at two events at the fifth annual Uncensored Celebration, sponsored by the American Civil Liberties Union Foundation of Oregon, where she spoke about her book and her work for the Arts Censorship Project".	据介绍，1993 年 9 月，“海因斯作为特约演讲者出席了由俄勒冈州美国公民自由联盟基金会赞助的第五届年度无审查庆祝活动，在活动中她谈到了她的书和她为艺术审查项目所做的工作。”。
She was a special guest at the Free Speech Lunch on September 18, 1993, as part of the Pacific Northwest Booksellers Association's Trade Show Northwest.	1993 年 9 月 18 日，作为太平洋西北书商协会西北贸易展的一部分，她以特邀嘉宾的身份出席了“言论自由午餐”。
On October 6, 1993, the Newark, New Jersey art gallery Aljira, a Center for Contemporary Art held a reception in honor of Heins' work where she spoke about her book and her efforts to defend works of art from censorship.	1993 年 10 月 6 日，新泽西州纽瓦克的 Aljira 画廊（一个当代艺术中心）为海因斯的作品举行了一场招待会，她在会上谈到了她的书和她为捍卫艺术作品不受审查所做出的努力。
Sex, Sin, and Blasphemy provides the reader with a history of censorship of artworks.	《性、罪恶和亵渎》为读者介绍了对艺术作品进行审查的历史。
The book argues that artists have been scapegoated by those advocating censorship, as a method of diverting debate away from the suppression of human rights.	这本书认为，艺术家已经成为那些主张审查制度之人的替罪羊，这些人以此来转移对压制人权问题的讨论。
The author asserts that censorship of works deemed obscene has been used as a tactic throughout history to suppress women's rights.	作者声称，对被视为淫秽的作品进行审查，在历史上一直被用作压制妇女权利的一种策略。
Heins describes for the reader the history of the 1873 Comstock laws.	海因斯向读者介绍了 1873 年康斯托克法的历史。
It's stated that,"such laws were put forth by United States Postal Inspection Service inspector Anthony Comstock, and after he helped influence passage of the legislation, they enabled the government to criminalize sending perceived immoral writings through the mail".	书中说，“这类法律是由美国邮政检验局检查员安东尼·康斯托克提出的，在他帮助推动立法通过后，政府便可利用这些法律将通过邮件发送被认为不道德的作品的行为判定为犯罪”。
The book discusses the history of the division of the Motion Picture Association of America (MPAA) that assigns movie ratings, the Classification and Rating Administration.	这本书讨论了美国电影协会（MPAA）指定电影分级的历史，即分类和分级管理。
"Skin Deep" was written by consulting producer Jane Espenson, while 24 veteran, Milan Cheylov, directed the installment.	《Skin Deep》由制片人顾问简·埃斯本森担任编剧，而 24 岁的老将米兰·切洛夫执导了这部作品。
Knowing that they were going to recreate the story of "Beauty and the Beast", series co-creators Edward Kitsis and Adam Horowitz wanted its heroine, Belle, "to exude intelligence and strength and be someone you would immediately love," which led them to approach Emilie de Ravin.	在知道他们将重现《美女与野兽》的故事后，这部连续剧的联合创作者爱德华·基迪斯和亚当·霍罗威茨希望女主角贝拉“散发智慧和力量，成为一个你会立刻爱上的人”，这种想法让他们找到了艾米莉·德·拉文。
Her casting was announced in November 2011.	她的选角于 2011 年 11 月公布。
The actress agreed after reading the script, believing that the character was "very courageous" with a playful side that would endear her to Rumpelstiltskin.	这位女演员在读完剧本后表示同意，她认为这个角色“非常勇敢”，当然也有让她喜欢上侏儒怪的俏皮一面。
During their casting meeting, Kitsis and Horowitz told de Ravin that Belle is defined as a strong intelligent woman in a world that disapproves of those characteristics, and that de Ravin was going to be "tak[ing] the icon of Belle and mak[ing] her a woman."	在选角会议上，基迪斯和霍罗威茨告诉德·拉文，贝拉被定义为一个强大而聪明的女人，而这个世界不喜欢这些特征，德·拉文将“把贝拉的形象塑造成一个女人。”
Espenson said that this was one of their most love-centered episodes; when they realized it was going to be airing near Valentine's Day, they decided to "lean into" this theme.	埃斯本森说，这是他们最以爱情为中心的一集；当他们意识到这一集将在情人节临近播出时，他们决定“融入”这一主题。
Unusually for Once Upon a Time, the theme of this episode changed during the writing process.	对于《童话镇》不同寻常的是，这一集的主题在编剧过程中发生了变化。
It was initially meant to center on Rumpelstiltskin choosing power over love.	它最初的主题是侏儒怪选择权力而不是爱情。
However, as Espenson went through drafts and discussed them with others, she decided that Rumpelstiltskin might think he is choosing power over love, but in reality his actions are motivated by a belief that he is worthy of love at all.	然而，当埃斯本森翻阅草稿并与他人探讨时，她认为侏儒怪可能认为自己选择了权力而不是爱情，但实际上他的行为出于一种信念，即他值得被爱。
In the interest of time, Espenson was forced to edit out many plot points, including a failed escape attempt by Belle.	为了节省时间，埃斯本森被迫删减了许多情节，包括贝拉一次失败的逃跑尝试。
Despite this, she sought to trim down more time from the Storybrooke scenes and "preserve as much as we could of the fairy tale side," as the Belle-Rumpelstiltskin relationship was a love story that needed time to grow in order to be believable.	尽管如此，她还是试图减少童话镇场景的时间，并“尽可能多地保留童话的一面”，因为贝拉与侏儒怪的关系是一个爱情故事，需要时间来发展才能令人信服。
De Ravin was a fan of the series before being cast and was happy to be able to view the costumes up close, describing her character's gold dress as "absolutely stunning." The casting of her former suitor, Gaston, was announced in December 2011 with Psych actor Sage Brocklebank.	在出演之前，德·拉文是这部连续剧的粉丝，她很高兴能够近距离观看戏服，称她所扮演角色的金色礼服“超级惊艳”。她的前追求者加斯顿的选角于 2011 年 12 月公布，由《灵异妙探》的演员塞奇·布洛克班克出演。
De Ravin described the episode's version of Gaston as "maybe not as cocky as the animation [version of him], but it’s funny." Rumpelstiltskin's castle was shot almost entirely on greenscreen, with only a few real props being used.	德·拉文将这一集的加斯顿描述为“也许不像动画版的加斯顿那样自大，但十分有趣。”侏儒怪的城堡几乎完全在绿幕上拍摄，只使用了一些真实道具。
It was de Ravin's first time working with this technology, which caused her to become "quite nervous." The physical props helped her with the scenes, and "they ha[d] a fantastic set up of a couple of monitors that you can see a markup of basically how it’s going to look."	这是德·拉文第一次使用这项技术，这让她变得“相当紧张”。实物道具帮助她应对各种场景，“他们安排了几台奇妙的显示器，你可以看到一个大体上展示场景看起来如何的标记。”
The episode was included in Reawakened: A Once Upon a Time Tale – a novelization of the first season – which was published by Hyperion Books in 2013.	这一集被收录在 Hyperion Books 于 2013 出版的《再度觉醒：童话镇》（第一季的小说版）中。
There are multiple references made to Disney's Beauty and the Beast.	迪士尼的《美女与野兽》被多次引用。
The chipped tea cup that Belle accidentally drops is a reference to the boy-transformed-teacup Chip from the animated film.	贝拉不小心掉落的碎茶杯是指动画电影中那个男孩变身的茶杯奇普。
Also, Rumplestiltskin was referred to as a "beast" by Belle's father.	另外，侏儒怪也被贝拉的父亲称为“野兽”。
Belle's fiancée in the show is named Gaston, the Disney antagonist, and he was turned into a red rose, which featured prominently in the film.	剧中贝拉的未婚夫名字叫加斯顿，这是迪士尼的反派角色，他被变成了一朵红玫瑰，这段情节在电影中非常重要。
In addition, most of Belle's clothing in the fantasy world appears to be directly inspired by the Disney film, such as her classic yellow ballgown and her blue-and-white plainclothes.	此外，贝拉在幻想世界中的大部分服装似乎都是直接受到迪士尼电影的启发，比如她经典的黄色长舞裙和蓝白相间的便装。
